By R. Clifton Spargo

ISBN-10: 1468307606

ISBN-13: 9781468307603

During this evocative and meticulously special novel in regards to the final romance of 1 of America's maximum literary undefined, R. Clifton Spargo crafts a thrilling portrait of the passionate but tragically dysfunctional dating among F. Scott and Zelda Fitzgerald.

In 1939 Scott resides in Hollywood, a virulent alcoholic and deeply in debt. regardless of his courting with gossip columnist Sheila Graham, he is still fiercely dependable to Zelda, his soul mate and muse. In an try to fuse jointly their fractured marriage, Scott arranges a visit to Cuba, the place, after a disastrous first evening in Havana, the couple runs off to a seashore lodge open air town. yet even in paradise, Scott and Zelda can't get away the damaging depth in their relationship.

In Beautiful Fools, R. Clifton Spargo offers us a shiny, resplendent, and really human portrait of the Fitzgeralds, and divulges the heartbreaking styles and unforeseen moments of tenderness that signify a good romance in decline.

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Extra info for Beautiful Fools: The Last Affair of Zelda and Scott Fitzgerald

Sample text

31 If the insufficiency of 29 A Portrait of the Artist as a Young Man, text corrected by Chester G. Anderson and ed. Richard Ellmann (New York: The Viking Press, 1964), p. 9. All subsequent references to A Portrait are to this edition and will be included in the text. 30 Nancy Wilds, "Style and Auctorial Presence in Ά Portrait of the Artist as a Young Man'," Style 7 (Winter 1973): 53. 31 See Wayne C. Booth's discussion of A Portrait in The Rhetoric of Fiction (Chicago: The University of Chicago Press, 1961), pp.

In its dominant nar­ rative voice and interest in the character of the artist, the "Telemachiad" resembles A Portrait in particular, and even the reader of Ulysses who fails to recognize this continuity will experience a sense of security from the presence of this narrative voice. The staples of the novel—third-person nar­ ration, dialogue, and dramatization of a scene—also promise narrative security to the reader who begins Ulysses: they act as signposts promising him familiar terrain on the subse­ quent pages.

But in its seeming fidelity to the details of both the thoughts and actions of the characters it provides us with a sense of the real world of the novel. 10 9 Letter, 6 August 1919, Letters of James Joyce, Vol. 1, ed. Stuart Gilbert (New York: The Viking Press, 1957), p. 129. However, when I refer to the "initial style" henceforth, I mean specifically the prose style of the third-person narration. 10 Hugh Kenner's ingenuity and prolificacy illustrate the possibilities for characterizing the early narrative style of Ulysses.

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Beautiful Fools: The Last Affair of Zelda and Scott Fitzgerald by R. Clifton Spargo

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