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F. SCOTT FITZGERALD

Matthew J. Bruccoli and Richard Layman, Editorial Directors

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Publisher’s Acknowledgments and Permissions

This book was produced by Bruccoli Clark Layman, Inc. R. Bland Lawson is the series editor and the in-house editor.

Production manager is Philip B. Dematteis.

Copyediting supervisor is Phyllis A. Avant. Senior copyeditor is Thom Harman. The copyediting staff includes Brenda Carol Blanton, James Denton, Worthy B. Evans, Melissa D. Hinton, William Tobias Mathes, and Jennifer S. Reid.

The index was prepared by Alex Snead, Cory McNair, and Jeff Miller.

Layout and graphics series leader is Karla Corley Brown. She was assisted by Zoe R. Cook and Janet E. Hill, graphics supervisor.

Photography editors are Charles Mims, Scott Nemzek, and Paul Talbot. Digital photographic copy work was performed by Joseph M. Bruccoli and Zoe R. Cook.

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Typesetting supervisor is Kathleen M. Flanagan. The typesetting staff includes Kimberly Kelly, Mark J. McEwan, Patricia Flanagan Salisbury, and Alison Smith.

Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of Gale Study Guides to Great Literature. Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIAL IN Literary Masterpieces, Vol. 1: F. Scott Fitzgerald WAS REPRODUCED FROM THE FOLLOWING SOURCES:

Material from Fitzgerald’s Notebooks (New York: Harcourt Brace Jovanovich/Bruccoli Clark, 1978), reprinted by permission of Harcourt Brace.

Material from F. Scott Fitzgerald: A Life in Letters (New York: Scribners, 1994), Afternoon of an Author (New York: Scribners, 1958), The Romantic Egoists (New York: Scribners, 1974), Dear Scott/Dear Max (New York: Scribners, 1971), and The Letters of F. Scott Fitzgerald (New York: Scribners, 1963) reprinted by permission of Simon & Schuster and Harold Ober Associates.

Material from The Crack-Up (New York: New Directions, 1945)—including quotations from “The Crack-Up,” “Pasting It Together,” “Handle With Care,” “My Lost City,” “Early Success,” and “Echoes of the Jazz Age”—reprinted by permission of New Directions and Harold Ober Associates.

Material from As Ever, Scott Fitz (Philadelphia & New York: J. B. Lippincott, 1972) reprinted by permission of J. B. Lippincott and Harold Ober Associates.

Material from Correspondence of F. Scott Fitzgerald (New York: Random House, 1980) reprinted by permission of Random House and Harold Ober Associates.

“Thousand-and-First Ship” and “My Very Very Dear Marie” from F. Scott Fitzgerald, Poems: 1911–1940 (Bloomfield Hills, Mich. & Columbia, S.C.: Bruccoli Clark, 1981), by permission of Harold Ober Associates.

Fitzgerald’s postcard to Scottie, 25 January 1928, courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina; by permission of Harold Ober Associates.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN Literary Masterpieces, Vol. 1: F. Scott Fitzgerald, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Cover of The Smart Set courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina.

Dust jacket for Tender Is the Night (New York: Scribners, 1934), courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina.

Dust jacket for This Side of Paradise (New York: Scribners, 1920), courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina.

Dust jacket for Flappers and Philosophers (New York: Scribners, 1920), courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina.

F. Scott Fitzgerald’s monthly expenses in 1923, courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina; reproduced by permission of Harold Ober Associates.

F. Scott Fitzgerald and John O’Hara, photograph by Belle O’Hara, courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina.

Photographs of the Fitzgeralds, Maxwell Perkins, Harold Ober, and Sheilah Graham courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina.

Final manuscript page of The Great Gatsby, Manuscripts Division, Princeton University Library; reproduced by permission of Harold Ober Associates and Princeton University.

Inscribed photograph of Ernest Hemingway, courtesy of the Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina.

Illustration by F. R. Gruger from “The Rich Boy,” Red Book (January 1926), courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina.

Page from F. Scott Fitzgerald’s Ledger, reproduced by permission of Harold Ober Associates.

Fitzgerald’s revised galley proof for Tender Is the Night, Manuscripts Division, Princeton University Library, reproduced by permission of Princeton University and Harold Ober Associates.

Fitzgerald’s revised galley proof for The Great Gatsby, Manuscripts Division, Princeton University Library, reproduced by permission of Princeton University and Harold Ober Associates.

Final manuscript page for The Great Gatsby, Manuscripts Division, Princeton University Library, reproduced by permission of Princeton University and Harold Ober Associates.

Fitzgerald’s revised galley proof for the conclusion of The Great Gatsby, Manuscripts Division, Princeton University Library, reproduced by permission of Princeton University and Harold Ober Associates.

Fitzgerald’s revised coda to “The Swimmers” typescript (The Saturday Evening Post, 19 October 1929), courtesy of Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald, University of South Carolina; reproduced by permission of Harold Ober Associates.

Fitzgerald’s revised galley proof for Tender Is the Night, Manuscripts Division, Princeton University Library; reproduced by permission of Princeton University and Harold Ober Associates.