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.
--This text refers to an out of print or unavailable edition of this title.
From Library Journal
Left unfinished and in rough form at the time of Scott's untimely death at age 44, these 17 existing-out of 31 planned-episodes were reassembled in 1993 by scholar Bruccoli according to the author's notes (Classic Returns, LJ 12/93). Those who passed on that $35 edition can now have the reconstructed text and Bruccoli's notes for $10. Essential for public and academic libraries.
Copyright 1995 Reed Business Information, Inc.