This Side of Paradise (Barnes & Noble Classics Series)

This Side of Paradise (Barnes & Noble Classics Series)


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This Side of Paradise, by F. Scott Fitzgerald, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics:
  • New introductions commissioned from today's top writers and scholars
  • Biographies of the authors
  • Chronologies of contemporary historical, biographical, and cultural events
  • Footnotes and endnotes
  • Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work
  • Comments by other famous authors
  • Study questions to challenge the reader's viewpoints and expectations
  • Bibliographies for further reading
  • Indices & Glossaries, when appropriate
All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. If the “Roaring Twenties” are remembered as the era of“flaming youth,” it was F. Scott Fitzgerald who lit the fire. His semi-autobiographical first novel, This Side of Paradise, became an instant best-seller and established an image of seemingly carefree, party-mad young men and women out to create a new morality for a new, post-war America. It traces the early life of Amory Blaine from the end of prep school through Princeton to the start of an uncertain career in New York City.

Alternately self-confident and self-effacing, torn between ambition and idleness, the self-absorbed, immature Amory yearns to run with Princeton’s rich, fast crowd and become one of the “gods” of the campus. Hopelessly romantic, he learns about love and sex from a series of beautiful young “flappers,” women who leave him both exhilarated and devastated. Fitzgerald describes it all in intensely lyrical prose that fills the novel with a heartbreaking sense of longing, as Amory comes to understand that the sweet-scented springtime of his life is fragile and fleeting, disappearing into memory even as he reaches for it. Sharon G. Carson is Professor Emerita in the English Department at Kent State University, where she has taught for thirty-five years. She is the author of numerous articles and essays on modern and contemporary fiction.

Product Details

ISBN-13: 9781593082437
Publisher: Barnes & Noble
Publication date: 09/01/2005
Series: Barnes & Noble Classics Series
Pages: 320
Sales rank: 14,766
Product dimensions: 7.94(w) x 5.30(h) x 0.86(d)

About the Author

Author of the widely lauded novel The Great Gatsby, as well as This Side of Paradise, The Beautiful and the Damned, and Tender is the Night, F. Scott Fitzgerald is best known for chronicling the excesses and tribulations of the Jazz Age. One of the leading authors of the post-World War I "Lost Generation," Fitzgerald often invokes themes of youth, beauty, and despair in his books and short stories. He was also known for his hard-partying lifestyle, as well as his marriage to the beautiful yet troubled Zelda Fitzgerald.

Date of Birth:

September 24, 1896

Date of Death:

December 21, 1940

Place of Birth:

St. Paul, Minnesota


Princeton University

Read an Excerpt

From Sharon Carson’s Introduction to This Side of Paradise

With the soul of a poet, the ear of a musician, and a psyche inextricably intertwined with that of his culture, F. Scott Fitzgerald was perhaps the last true voice of the romantic American spirit. And in all instances, he sought beyond the constraints of cultural mores and literary conventions to create a body of work that bespeaks its ethos. This Side of Paradise (1920) was Fitzgerald’s first novel, the work that made him the voice of post–World War I America, “the Jazz Age.” The Jazz Age was not just a drastic change in the culture; it was a new dimension in consciousness. During the 1910s and 1920s America underwent a massive paradigm shift, a transition from an era of smug Victorian conformity and certainty to one of confusion and ambiguity called “modernism.” World War I had accelerated the velocity of this change, and Fitzgerald expresses this transition in attitudes early in his 1917 play The Debutante when flapper Helen Halcyon with her cigarettes and silver flask is asked by her father if she is ready to fit into the wide, wide world, and she replies, “No daddy, just taking a more licensed view of it.” The typical 1920’s flapper, Helen doesn’t want to “fit in” to the rigid roles prescribed for her by the Victorian world, but to live a more independent lifestyle based on her own desires, and to experience greater social and sexual freedom. Her disdain for convention is a symptom of the shifting cultural mores of the Jazz Age.

It is ironic that Fitzgerald’s first novel is the one for which he achieved the most acclaim, praise from which he never recovered. Perhaps its reception was the result of the novel’s sense of anticipation for the age to come. Written between 1917 and 1919 and published on March 26, 1920, This Side of Paradise actually preceded the Jazz Age, an era that Fitzgerald claimed lasted from May Day 1919 to October 1929, when the stock market crashed. Yet the novel is a sensitive barometer of the shifting social climate. Brian Way remarks that “all Fitzgerald’s best writing as a historian of manners is retrospective,” and even though The Great Gatsby (1925) and Tender Is the Night (1934) both look back on previous summers and previous years, “for a short time at the beginning of his career, Fitzgerald anticipated social change . . . he achieved the kind of popularity which depends upon a writer’s being fractionally ahead of his time” (Way, F. Scott Fitzgerald and the Art of Social Fiction, p. 62; see “For Further Reading”).

This Side of Paradise might have been ahead of its time partly because it examines and rejects the romantic idealism of the Victorian past and reluctantly embraces the troubling uncertainties of the future. It reveals an American culture that is economically on the ascendant but that is psychically ambivalent. World War I had finally ended in November 1918, and the “war to end all wars” had given the nation a euphoric sense of its own power. The stock market was booming, and thousands were getting rich overnight. Many felt the United States had emerged from the war relatively unscathed, having suffered fewer deaths than France, Germany, or Great Britain, and that it was now the greatest nation on earth. But at the same time Americans were troubled by a sense of unease: The trenches in France had demonstrated the brutality of war, and death was on a scale so massive it was incomprehensible. How had the culture, indeed the whole world order, failed so cataclysmically? The war had created a tectonic shift in human consciousness. Paul Fussell comments in The Great War and Modern Memory on the change that occurred between the start of the war in 1914 and its end in 1918: “Out of the world of summer 1914, marched a unique generation. It believed in Progress and Art and in no way doubted the benignity even of technology. The word machine was not yet coupled with the word gun” (Fussell, p. 24). The savage and absurd deaths of 10 million were a result of this new technology of killing, which introduced the “civilized” nations to artillery, air power, poison gas, and unprecedented civilian casualties. Ezra Pound decried the chaos of the war in his poem “Hugh Selwyn Mauberley” (1920): “There died a myriad, . . . For an old bitch gone in the teeth, For a botched civilization,” and T. S. Eliot wrote that the stable world view of the nineteenth century could not accord with “the immense panorama of futility and anarchy which is contemporary history.”

Much like the rebellious youth of the 1960s during the Vietnam War, the young people of the 1920s questioned the absurdity of this “Great War,” the value system of a civilization that had created it, and the beliefs of their elders who had supported it. Many of them rejected what they regarded as a pretentious, hypocritical, and outmoded lifestyle and began to live for the moment. The “new women” of the post-war period began smoking and drinking in public, applying rouge, wearing shorter skirts, and speaking their minds. They were becoming more numerous in the post-war workforce, were gaining economic independence, and by 1920 would get the right to vote with the passage of the Nineteenth Amendment. No longer the proper Victorian maid with her beau and her chaperone in the tearoom, the new woman was now “the flapper” and “the slicker” in the “speakeasy,” sans chaperone. Meanwhile, a sense of hedonistic revelry infected the ballrooms and nightclubs, where dances like the Charleston and the Black Bottom replaced the more sedate and conventional waltzes. Jazz music was popular and was becoming even more so by way of the Graphophone (an early phonograph) and the radio, early accompaniments to what Fitzgerald would call “the gaudiest spree in history.” Appalled by the uninhibited carousing, reactionaries mandated prohibition in early 1920 with the passage of the Eighteenth Amendment but were met with a populace drinking all the more, even if it was bootlegged liquor or grain alcohol. As Matthew J. Bruccoli notes, “Drinking increased among people for whom defying the bluenose Prohibitionists was a gesture of intellectual respectability” (Some Sort of Epic Grandeur, p. 131).

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This side of paradise 3.9 out of 5 based on 0 ratings. 97 reviews.
FStopFitz More than 1 year ago
I have read this inumerable times! My all time favorite book, especially by my favorite author. Never quite understood how The Great Gatsby can overshadow this amazing work of literature! The life of Amory Blaine is fascinating, following through his school days, the reader actually feels like they are there with him. Highly reccomended to anyone and everyone!
chelseanne23 More than 1 year ago
Fitzgerald's semi-autobiographical novel was utterly fascinating; as a 22 year old, I find it baffling that someone my age could have written such a cutting and spot-on description of everyday life. I could go into the fact that he was one of the first truly modern authors, how he is one of America's greatest authors, etc. but what I found most powerful was that his work is still relevant today. I've been in similar situations, I've felt the same way Amory felt (in relation to being better than everyone, in relation to "acting" at being into someone) which serves to highlight how timeless this novel truly is. I was captivated from start to end.
elizabeth alvarez More than 1 year ago
Download another version, this one has too many typos to be clearly understood.
billtolstoy More than 1 year ago
How presumptious of me to write a review of F.Scott Fitzgerald but in truth I think he would understand. Set in privileged, clueless ,dream-state Ivy League twenties America, Amory Blaine goes about his business of "let's pretend we really are intellectuals and see if we can squeeze a life out of that". Because Fitzgerald got me mad and maybe a little embarrassed too,(I was a college kid once)I realized,"This guy got it right and wrote it right too.." Hemingway might have shared my reaction to this novel and who knows, may have seen it as the basis for the famous exchange between himself and Fitzgerald;Fitzgerald,"The rich and the poor are different." Hemingway,"Yes,the rich have more money." That's how I concluded as well,self delusions are poison to a full true life, And they can hurt people and nations. Fitgerald was a master and did get it right,even if I didn't like his characters and their values,he got it right,and wrote it brilliantly. But thats only round one,this a fight,and far from over.Amory Blaine; his generation,dubbed"Le enfants purdue",(the lost generation),has lost,like his personal Catholic faith, all "the ornaments on the tree"but the tree lives,he wants the tree,wants to live,wants to change,wants to change the world.He teeters on the edge of socialism,"Every boy should have an equal start,not be falsely bolstered by money,or those hideous boarding schools,dragged through college."As had in fact ,Amory. He decries the shallowness of that education,goes on to say,and I paraphrase loosely,"I got an education despite having gone to college." Fitgerald can be frighteningly,poetically fierce.In a scene in a graveyard by Princeton, his alma mater,Amory is contemplating nature,Hamlet-like,he touches a vine growing on vault,"covered with late blooming,weepy,watery blue flowers that might have grown from dead eyes,sticky to the touch with a sickening odor." The exchange ,in a scene where Amory ,enduring hard personal changes in fortune, is offered a lift in a limo,and holds forth on the need for social change,is less poetic but not less powerful. Flappers aside,roaring twenties aside,this book is responsible,it lives,just as Amory wanted for himself finally.You know,I have to say it,"it was an education,really." And by a master.
Anonymous More than 1 year ago
F. Scott Fitzgerald's "This Side of Paradise" was written in the typical excessive Fitzgerald style, with lots of confusing allusions and very lengthy, wordy descriptions. However, the satisfaction in reading this comes mostly in the voyeuristic, almost "E! True Hollywood Story"-like glimpse into the main character, Amory Blaine's life. The main character was probably the sole thing that kept me interested while reading this - the book made me want to know everything there was to know about Amory, and by the end, I did know everything about him and I wanted him to see the things in himself that I saw in him, thanks to the author's masterful description of him and his personality. I also found myself kind of desperate for Amory to be happy in a relationship for once - I could have sworn that Rosalind was going to work out, but typical of Fitzgerald, like in "The Great Gatsby", nothing happens like we want it to. My favorite part in this book was the entire Rosalind arc, from the mad, passionate love that he shared with her (that never really ammounted to anything by today's standards) to the point where she shot him down and he was crushed - this was probably the one point where I really emotionally connected with the character and felt just as miserable as he was when he lost his love. My least favorite part was in the middle of the story, where it felt like absolutely nothing was happening. I understand that this feeling is probably what Fitzgerald wanted the reader to feel, since this was the point where Amory was in the army for the war that none of the snobbish Princeton boys cared about, including Amory, but still - it felt very dry and boring, and I wanted to skip ahead where I felt sure something exciting was going to happen. Overall, this was a great book. The language is hard to follow at times and there are parts where it gets pretty boring, but all of this is overshadowed by the incredible insight we get into the psychology of the character, his development, and his ultimate dismaying self-realization.
Guest More than 1 year ago
This book is such a classic! In the first chapter, which is conveinently segregated into titled bits, I got this feeling of literary genius. I immediately got this groovy Catcher and the Rye sensation right when the main character, Amory Blaine, began an in depth analysis upon all his education. Amory Blaine is such an amazingly conceited and zealous character he thinks he is completely amazing when in reality he is a lazy optimist, this is where the reader picks up hillarious emotions that allow loud outbursts of laughter. I absolutely adore this novel what a feat from F. Scott Fitzgerald. I dare yell OUTSTANDING!
Guest More than 1 year ago
F. Scott Fitzgerald's picture of the 'jazz age' is not unlike much of today's more youthful generations. While this book is overshadowed by 'The Great Gatsby'it definitely should be read. It gives us a little insight to what the generation before WWI was up to before the depression and WWII.
Nazire More than 1 year ago
Fitzgerald is one of the staple writers of American Literature, especially for Modern American Literature. Fitzgerald is probably best known for his Beautiful and the Damned and The Great Gatsby, both of which are superb books. I feel like I am losing a sense of who I am by writing a review of a great writer here. Who am I to judge Fitzgerald in all his greatness and the skills he has mastered as a superb writer? I, who has not published anything is judging Fitzgerald's first novel. How pretentious? IF I am not wrong Fitzgerald wrote this book when he was in his early twenties and still inexperienced. However I feel that we must judge each book separately with it's own merits and not against other comparisons; whether it be against other writers or the other works of that particular writer. It is true there are some flaws with this book; but let's be honest, which book doesn't? There are no perfect books on which everyone will agree on. Everyone's best of classics will always be different. I however love this book. The characters are well designed and it reflects the 1920s through a young artist's eyes who is in the work of becoming one, though not yet one. The heartaches, the difficulties, mentalities and thought patters are carefully observed and presented, not always in the clearest way, however always there. Amory's awakening feels real, happening not in a fast paced story that seems to be based on too many coincidences. We don't just hit a wall and then a bulb doesn't go off in our heads. The influence of his parents, particularly of his mother, his religious mentor, his friends and the countless women who go in and out of his life. They all shape him separately in different directions in which his confusion becomes profound and relatable. Descriptions, monologues are enlightening, creative and original. No body does the Jazz era better than Fitzgerald, with hits glam and it's gloom. So, what was wrong with it? I don't think at any given time a student at Yale could be so carefree without having to work so hard at his studies. Sometimes the plot doesn't feel as established, solid and well planned out. There aren't always particularly something happening, or something being set up. (not that all plots needs to be this way, however for a novel of this length, sometimes it makes a reader feel like the writer is just dragging it on and is not authorized) to write the book. Some characters don't always seem to particularly have a purpose of being there. The book could have been shorter, the space utilized more efficiently. All in all though, it's a great book that is to be recommended.
Guest More than 1 year ago
When it was published someone famously called this book 'the collected writings of F. Scott Fitzgerald' and the wag who made the quip had a point. Still, it is a beautiful and interesting portrait of a priviledged and Romantic child's coming of age. The passages describing Princeton are the most lyrical. This book showed the world the potential Fitzgerald had for lyrical prose and writing fine novels, potential fulfilled in Gatsby and Tender is the Night.
Guest More than 1 year ago
This is an amazing novel that is very selectively worded. Fitzgerald is a master of the written word, and he never wastes a single one.
Guest More than 1 year ago
I read the Great Gatsby before This Side of Paradise and find it much more understandable and interesting. Overall, this book is much less confusing and the events are mostly in chronological order from the viewpoint of the protagnist, Amory Blain, instead of a characterized narrator. It's a thoughtful book and displays a whole new perspective on things. The time and society at the time is well presented as the main character experiences the triumphs and setbacks so far in his young life around centered around his own 'superior' ideas and ideals. Fitzgerald flowing and elegant writing give life to this book as it's most suitable to Amory Blain whom he most likely wrote autobiographically. It's interesting to go inside someone's head and explor how they think and perceive the world around them, how their ideas change and evolve, especially a romantic egotist's. The ending's a bit lose but it has impact, making you wish it for more while knowing it cannot be so. A fascinating book, yet tangible, it should be read before Great Gatsby which become more comprehensible after This Side of Paradise.
HVFCentral on LibraryThing More than 1 year ago
This is only my second foray into the world of F. Scott Fitzgerald. I had read "The Great Gadsby" years ago, as part of a college reading assigment. I also had seen the movie starring Robert Redford. So, over the past few weeks I approached this other great Fitzgerald work with a sense of anticipation, and maybe a little hesitation. Gadbsy had left me flat and drained. I expected Paradise to do the same. Yet, in the life meanderings of protagonist Amory Blaine, I found not a pointless pursuit of nothing much, ending in quiet tragedy. Rather, there is a sense of ultimate success on the part of Blaine, as the narrative closes. Here is a person that seemed to have no real purpose in life, other than a continuation of the first two shallow fraternity years in an Ivy League college. But Amory is no typical Ivy-Leaguer. His wealth comes from some nouveau riche earnings of his late father's smart investments. Tragedy seems to loom on every page, as his inheritance dries up and he is left with nothing. He has not even a healthy ambition to drive him. As a romancer, he can seduce, but never truly win, the most beautiful women crossing his path. They all approach their liaisons with him, fully aware that it is going nowhere. He is a rake without pretense. Blaine's frustrations with the ladies are part of his character development, in his sysiphusian forward-and-back-again career path to nowhere. But in this there is nothing really unique about the character. There is not a man alive, who wouldn't love to have the same romantic experiences as Amory. Eventually the smart ones realize that the best women are the nice ones. The most alluring ones are the ones along the edge of society, not the ones that place themselves front and center, as Amory's love interests always manage to do. So the story ends, somewhere around the year 1930, with Amory at around thirty years of age. In the final chapters, Fitzgerald wraps it up with some prescient social commentary, which seem even to point to reforms in our society that may yet be a hallmark of the Obama era. Fitzgerald pleads - why does our society not more highly value those with creative gifts? Why do we stress a liberal education, and then cast to the gutter those that excel in the liberal arts? Fitzgerald says, no wonder socialism has such an allure to the intelligentsia! If the business and monied classes cared more about letters, music, and the arts, then there would be a place for those so gifted! Yet any advanced civilization needs to celebrate those gifts! Fitzgerald has written this book as a commentary on America's need to put its money where its mouth is. If you can write and create - then it is in society's best interest to take good care of you. The failure to do so may be an overturning of our free market system (one needs only to look at people like Bill Ayers to see how it all may come topsy turvy, even in our generation). But, one wonders about Mr. Blaine at the age of fifty and beyond. I can easily envision him as a respected adademic, with a wife that is also a professor. In his late middle years he has one or two young children, that bring him great joy. He has served on several local boards by this time. And, at long last, he is happy.
kdavidw on LibraryThing More than 1 year ago
Fitzgerald written about a young man named Amory. Amory comes from some old money, goes to Princeton, fights in the war, and along the way, has several intense love relationships. It's a story about self-discovery and love where Amory famously ends the novel by saying, "I know myself, but that is all--."
PinkPandaParade on LibraryThing More than 1 year ago
With this first novel, 23-year old Fitzgerald was catapulted into fame as the offspring of the Jazz Age, and with no surprise. This novel, which covers the life of Amory Blaine, a wandering Princeton egoist who is bored and disillusioned with the world around him, is reminiscent not only of the lost generation after World War I, but of the great coming-of-age novels of our time, most notably Salinger's The Catcher in the Rye.It was Fitzgerald himself who said that he was merely "a product of a versatile mind in a restless generation-¿with every reason to throw my mind and pen in with the radicals." The appeal of this book is hence universal and completely timeless, and just like Holden Caufield, many will take on this character and his hedonism as their own, recognizing his faults and weaknesses and learning, probably before he does, from his mistakes. Based partly on Fitzgerald's own burgeoning academic life, the author claims to capture "a new generation grown up to find all Gods dead, all wars fought, all faiths in man shaken." Probably the most experimental of all of Fitzgerald's books, filled not only with the actual story text, but also with acridly humorous lists, melodramatic poems, and even a section written like a play, all coming together seamlessly to show how Blaine learns from his friendships, affairs, and intellectual and spiritual lessons and mishaps how to become a more mature (though not necessarily a better and happier) person.Though not all will be drawn to this self-absorbed character, many still will find a thread of themselves in this man. As Fitzgerald's first novel, this is probably his most unadulterated and honest, and hence is of great value to all Fitzgerald followers. Those who have read other Fitzgerald books may not find this to be like the others. It lacks the flapper-filled floating atmosphere of The Great Gatsby, which is certainly his greatest novel. It lacks the sweet and insipid romance of such novels as my personal favorite, Tender is the Night. Still, there is a pervading sense of instability in Amory that seems extant in many of Fitzgerald's heroes and heroines, a certain off-center quality that keeps them down to earth at the same time it makes them other-worldly. Amory carries this quality like a sword and shield, and, more than any one of Fitzgerald's characters, looks at the world around him with the illusion that he is far above it because of his idiosyncrasies.
Cait86 on LibraryThing More than 1 year ago
I am a big fan of The Great Gatsby, so I thought I would pick up this novel, Fitzgerald's first. Unfortunately, it was no where near as good. I liked it, but I didn't love it.Summary: This Side of Paradise is the story of Amory Blaine, an egotistical young man who lives in the elite upper class world of 1910s and 1920s America. The reader watches as Amory attends a private prep school, goes to Princeton, fights in WWI, and then drifts along as one of the "lost generation." He loves, he loses, and he believes himself to have grown from a "personality" into a "personage." I, however, am still not sure of the destinction between the two, nor do I believe that Amory changes all that much.Amory's voice reminded me a little of Holden in The Catcher in the Rye, a book that I do not really enjoy. Both boys are lazy, sarcastic, self-important characters who complain a lot but do nothing. The up side of This Side of Paradise is Fitzgerald's prose, which is lovely, and the setting of the 1920s, a time period that I find infinitely interesting. Sprinkled throughout the book is Amory's poetry, which I guess shows his growth as an artist and a person, but I found it distracting. While this book doesn't live up to The Great Gatsby, it is interesting to see how Fitzgerald grew as an author, and since This Side of Paradise is semi-autobiographical, the reader gains a lot of insight into Fitzgerald's life. All-in-all, I am glad I read it, but this was definitely not one of my favourite reads for the year. Recommended for Classics-lovers or Fitzgerald aficiandos, but that's about it.
lucthegreat on LibraryThing More than 1 year ago
Good book. I really liked it when I read it, but as I reflect now (a couple summers later), I think that Fitzgerald gets rather tiring. It's 'On the Road' that has done this to me, particularly a quote on the back mentioning that it was closer to Whitman's American Dream than Fitzgerald's. Fitzgerald is a confused boy living in a make-believe world, whereas Whitman and Kerouac celebrate Life. I prefer that. Today.
TheCrowdedLeaf on LibraryThing More than 1 year ago
Ahhhh Mr. Fitzgerald. How you woo me with your lyrical prose and bore me with your philosophical shpeel.There were times during This Side of Paradise where I was overcome by what I was reading because it was just that amazing. And then there were times where I glazed over the philosophy with dry eyes and an annoying buzz in my ears. But looking beyond those parts, I have to acknowledge Paradise as Fitz¿s first novel, and therefore the good parts were made that much better since he had nothing Gatsby-like to live up to. The bits of genius were effortless and beautiful because they were the first of their kind, pure and innocent. Paradise seems like it was easy for Fitz. Fun. I feel like I can tell this is his first novel because it wouldn¿t be until later that the pressure of being a ¿good writer¿ would hit him. For that reason, I enjoyed this novel tremendously.This Side of Paradise revolves around Amory Blaine. There are many words to describe Amory: self-involved, self-indulgent, self-conscious. Overly dramatic, lost, found, curious, lonely, broken, bruised. Affected. Amory is a character. He¿s full of life but completely lost. He¿s a dreamer and an idealist and a realist all at the same time; he is one big hypocritical oxymoron, and he¿s completely overwhelmingly tragic.We begin Amory¿s life from whence all his issues started: Beatrice. Beatrice is dear old mother with her delicacy and indulgences, and her personality makes Amory into the person he is because of her eccentricities and failures. We follow Amory through school and his younger years (where he¿s disliked by his classmates because they don¿t get him), through his college years (where he¿s liked by classmates because they don¿t get him), vaguely through World War I, and always through his women, until we meet Rosalind ¿ the beginning, end, and in-between of everything Amory wanted and could never have.Amory is always looking for himself, and never finding the person he wants. He loses himself in whatever he likes at the time, whether it be school, an idea, a place, or a person. He¿s never happy and never content for long. He wants to be remembered, but never sticks to anything long enough to be cause for remembrance. He¿s lost, and I feel sad for him. He never quite finds what he¿s looking for.The best description of Amory can be found on the twelfth page of the book:¿It was always the becoming he dreamed of, never the being.¿
fodroy on LibraryThing More than 1 year ago
This begins slowly. You really have to work to get through the first half, but once you get through that it really pays off. There are many brilliant moments in this book.
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Anonymous More than 1 year ago
Although the language and the references Mads in this book made me read a little slower than I am used to, I greatly enjoyed the symbolism and struggles displayed by Amory's life. One of Fitzgerald's finest works this is a must read for any fan of classic book.
Anonymous More than 1 year ago
What a delight to read! ~*~A
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And very much so includes that paris bunch of "lost" they seemed able to always find a drink