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内容説明
Even in its incomplete form The Love of The Last Tycoon has achieved a reputation as the best novel about Hollywood. When F. Scott Fitzgerald died in 1940 he had written seventeen of thirty projected episodes. In 1941 the ’unfinished novel’ was published in a text for general readers by Edmund Wilson under the title The Last Tycoon. For more than fifty years this edition, which is not true to the original work in progress, has been the only one available. This critical edition of The Love of The Last Tycoon utilises Fitzgerald’s manuscript drafts, revised typescipts, and working notes to establish the first authoritative text of the work. The volume includes a detailed history of the gestation, composition, and publication of the novel; full textual appparatus with editorial notes; fascimiles of the drafts; and explanatory notes on topical allusions and historical references for contemporary readers. The reconstruction of Fitzgerald’s plan for the thirteen unwritten episodes is particularly useful. F. Scott Fitzgerald’s incomplete masterpiece is restored its 1940 state, and thus made fully accessible to a cross-section of readers.
From Publishers Weekly
Literary detective Bruccoli has produced a remarkable feat of scholarship in this welcome critical edition of the novel Fitzgerald began during his final year (1940) while working in Hollywood as a screenwriter. Generally considered a roman a clef, the story charts the power struggle of self-made, overworked producer Monroe Stahr (modeled on MGM producer Irving Thalberg) with rival executive Pat Brady (a stand-in for MGM head Louis B. Mayer). It is also the story of Stahr’s love affair with young widow Kathleen Moore and is (partly at least) narrated by Cecelia, Brady’s cynical daughter who is hopelessly in love with Stahr. After Fitzgerald’s death in December, his conflicting drafts for the novel were reworked by Edmund Wilson, who spliced episodes, moved around scenes and altered words and punctuation. Bruccoli, Fitzgerald biographer and editor of Cambridge’s critical edition of The Great Gatsby , has restored Fitzgerald’s original version and has also restored the narrative’s ostensible working title, one that implies that Hollywood is the last American frontier where immigrants and their progeny remake themselves. Equally significant are other entries in this volume: Bruccoli’s informative introduction; letters by Fitzgerald, Wilson and Maxwell Perkins; facsimiles of Fitzgerald’s notes and drafts; and textual commentary, including helpful explanations of the novel’s numerous topical references.
Copyright 1993 Reed Business Information, Inc.
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