Tender is the Night (Collectors Library) by F. Scott Fitzgerald (Unabridged

Very Fine novel by one of the great American writers of 20th century. Wonderfully crafted wriiting which flows beautifully. One of Scott Firgerald's 2 major works the other being the Great Gatsby which I preferred.

Very well written but that virtue does not overcome the fact that it's all about self-centered and entitled elitists, and immature ones at that, going to Princeton in the second decade of the 20th century. I wanted to read it because it was the first success of the guy who wrote "The Great Gatsby," which was indeed great, but I could not bring myself to care about these characters and did not finish the book. I might assign this book in an American literature or creative writing class so students could compare an early work to the same author's more mature one, but I would never recommend it to be read for pleasure.

Had never read Fitzgerald before--found the book a little boring--having seen The Great Gatsby(movie) I expected more !
Knowing about the author's rocky life makes me want to read more of what he wrote--will look forward to his other writings

It is a very contemplative look at the life of youth in early 20th century America, however the struggles that Amory contends with throughout can easily be applied to life today...especially as Americans deal with a great financial recession and the longest war in American History.

Very Fine novel by one of the great American writers of 20th century. Wonderfully crafted wriiting which flows beautifully. One of Scott Firgerald's 2 major works the other being the Great Gatsby which I preferred.

Very well written but that virtue does not overcome the fact that it's all about self-centered and entitled elitists, and immature ones at that, going to Princeton in the second decade of the 20th century. I wanted to read it because it was the first success of the guy who wrote "The Great Gatsby," which was indeed great, but I could not bring myself to care about these characters and did not finish the book. I might assign this book in an American literature or creative writing class so students could compare an early work to the same author's more mature one, but I would never recommend it to be read for pleasure.

Had never read Fitzgerald before--found the book a little boring--having seen The Great Gatsby(movie) I expected more !
Knowing about the author's rocky life makes me want to read more of what he wrote--will look forward to his other writings

It is a very contemplative look at the life of youth in early 20th century America, however the struggles that Amory contends with throughout can easily be applied to life today...especially as Americans deal with a great financial recession and the longest war in American History.

"Thrift Edition" means low quality paper and tiny print with small spacing between the lines. If you have young eyes, maybe you don't care. But I do care about the typeface and spacing, as well as the way the paper feels in my hands as I turn the page. But for under $3, it's not worth returning. Just thought others should know.

"Thrift Edition" means low quality paper and tiny print with small spacing between the lines. If you have young eyes, maybe you don't care. But I do care about the typeface and spacing, as well as the way the paper feels in my hands as I turn the page. But for under $3, it's not worth returning. Just thought others should know.

This is the worst book I've ever read. It's inconceivable that his next book was The Great Gatsby. Fitzgerald spends way too much time on late night bull sessions, but then skips over Amory's military service in World War I. Did anything happen to Amory while he was there? A great alternative to sleeping aids.

A college minor in English had not introduced me to this well-known author so I was anxious to give him a try. PERHAPS his better known works are more interesting, but the last 80 percent of this book went nowhere and I am disgusted with myself for wasting time finishing it. Totally unsatisfactory.

Read Fitzgerald in my young adult years and this was my favorite of his books. Just read it again (many decades later) and appreciated it just as much, if not more. I had forgotten how influential it was in forming my foundational views about the meaning of life and the purpose of living.

I only bought this book for its cover. I needed it for a craft I was working on and I paid more for shipping than the book, so Im not totally disapointed. However, I am disapointed that the image of the book is not what the book actually looks like since that was the only reason I purchased the book. If I knew what it looked like I would not have gotten it. The book was in good condition and if I were to read it was well worth it. It was just not right for my craft.

Just 24 when he finally got this work published after begging Scribner's to reconsider its rejection and after heavy lobbying by Maxwell Perkins, Fitzgerald shows us his talents and flaws in his first novel of self-discovery. He had to revise it numerous times, and I shutter to think of what it was initially like, as it has some flaws in it still. For one, it still can use cuts, particularly in those scenes of self-indulgent wallowing and self-pity after various loves have been lost. I deeply appreciate that wallowing, as I have definitely been there, but nothing can come of it, especially great art. For another, showy vocabulary and poetry to demonstrate the narrator's self-named egotistical "genius" is a bit over the top. Of course, Fitzgerald would hate any criticism like this and consider me a complete idiot. He also doesn't hesitate to throw class snobbery around, mostly his own. And there are long "intellectual" discussions about sentimentalism and romanticism and many other "-isms" that come off today as rather puerile, which one would expect from someone so young and "literary."
Here's the thing: to understand the impact of this book, one really needs to understand its time, 1920, and its place, post-Victorian and World War I America on its way to prohibition and economic depression. If we can put it in its context, we can see this work as far-sighted, revolutionary, and sexually liberated. In fact, at one point, Fitzgerald talks about the inevitable interconnectivity of "modern life," predicting today's globalization. And there are frequently beautiful passages here describing his college days and loves, as only Fitzgerald can write them: romantic, poetic, and fresh, anticipating his later work. All in all, what Edmund Wilson described as a "hodgepodge" cannot and will not be forgotten, as it foreshadows our "modern" sense of fragmentation, loss of faith in God and religion, and our restless and never-ending search for meaning, beauty, and love.

This is F. Scott Fitzgerald’s first novel, published in 1920 when he was 23 years old and not quite in control of his artistic and literary gifts. It’s the story of Amory Blaine, his undergraduate years at Princeton, his social striving, the girls he kisses. His life unfolds among the privileged in the Ivy League and his glib, epigrammatic personality is conveyed in what must have been a very on-trend Roaring Twenties style in which the protagonist says and thinks things like the following: “‘I’m a cynical idealist.’ He paused and wondered if that meant anything.” He’s the type of image-obsessed lad to whom people say such things as “for you not posing may be the biggest pose of all.”

Throughout the novel he encounters a number of women who mostly serve as mirrors to his emerging self but who also have a few thoughts of their own. Thoughts like “Sometimes when I’ve felt particularly radiant I’ve thought, why should this be wasted on one man?” And who shed some light on Amory’s character with observations delivered directly to him, observations like “The very qualities I love you for are the ones that will always make you a failure.”

As the novel unfolds Amory dispenses his glib wisdom in such piquant observations as “in spite of going to college I’ve managed to pick up a good education.” He also comes to some startling realizations such as “I don’t want to repeat my innocence. I want the pleasure of losing it again.”

On the last page he claims that he knows himself but along the way there are a lot of balls, failed classes, and high-spirited outings. Amory makes few lasting connections and seldom delves deeply into himself or his environment. Everything here is on the surface from the wit to the flappers to the self-consciously literary and often empty prose. Fitzgerald would later take parties and flowery language and turn it all into great American Literature but this immature, apprentice work shows only the raw materials without the later polish that would ensure his immortality.

This is a semi-autobiographical first novel. it follows the decline of Amory Blaine from upper-class wealth into self-inflicted poverty. Blaine is given every advantage in life and fails at everything he does.While the book would claim that he is driven by egotism, far more often he seems simply to be seeking self-destruction. The book's section covering Blaine's university years seem mostly an attempt by the author to "spin" his own personal academic failure at Princeton. To find something worthy or idealistic in his actions. He has almost nothing to say about the first world war because while he volunteered, he like many of his social position, never went overseas and he spent his time guarding Kansas.

His only real use of the war is as an excuse to the cut past social ties of the author by making people he knew dead in the conflict. The cutting of past ties and growing social isolation is part of the basic direction of the novel.

After the war, he works in New York in advertising. But doesn't pay enough for him to live properly. He aimlessly dates a series of women and seems to resent them for thinking too much of themselves rather than him. He can't marry because he doesn't have enough money so he quits his job and ends up with no money at all. But he still knows how absolute his greatness is.

There is one nice set-piece in the book where Blaine ends up in an Atlantic City hotel with another couple. His friend not tipping properly for room service leads to a visit from the house detective and threats to charge someone under the Mann Act. The Mann Act making illegal the transport of a woman across state lines for "immoral purposes". Blaine plays the hero to save the social reputation of his friend. But its ruined in that the author makes the point of the story that his friend will never forgive Blaine for what he has done. That heroic acts are always a stupid waste of time.

As the book moves toward a close, nearly every single person in Blaine's life ends up dead. Then he ends up walking the streets broke. Hitchhiking to Princeton for some reason, a wealthy man offers him a ride. The reader is then presented with a long and tedious political lecture on the virtues of socialism. His key points being that people will struggle for social prestige under socialism in the same way that they struggle for wealth under capitalism and that romance is a waste of time & effort. Kind of lightweight points. The author's strength is in dealing with the interpersonal and efforts made in the direction of ideas tend to fall apart.

Amory Blaine has, at the end, quite literally become Charlie Chaplin's "Tramp" character.

The autobiographical elements of the book are what drag the book down. F. Scott Fitzgerald had, at that time, not led a very interesting life. He tries way too hard through the book to justify himself and his actions. The experiments with narrative structure in the book are interesting and there are brief interludes where the writing works, but there isn't really a novel here. The long political lecture at the end is probably what got the book its attention in the 1920s. But its as false as it could be in that It feels insincere and "tacked on". It also totally undercuts the novel's famous conclusion (""a generation grown up to find all gods dead, all wars fought, all faiths in man shaken."). You can't put forward a long idealistic political lecture on the virtues of socialism and then follow it up by talking about how he had faith in nothing and nobody.

The strengths of the book are in its short set pieces. In particular the romantic set-pieces which are well written. He also plays with narrative structure in the book in interesting ways. Be it covering the war years as "letters" or doing a romantic scene as if it were theatrical dialogue. The changes at least broke up the monotony of many parts of the book. He is strong on interpersonal matters but weak when he tries to shift into talking about ideas. There are flashes of brilliance occasionally but its very much the first novel of a young author.

It's probably difficult for someone reading this book today to truly appreciate it's significance. So many things have changed, in so many ways, since 1920. On the other hand, many things have remained the same. As a coming-of-age novel though, This Side of Paradise is essentially timeless, because many can see themselves in the character of Amory Blaine, even if not born into wealth, or educated at Princeton, or even being male. Most of us have experienced the supreme confidence of youth, the tidal pull of youthful romance, the reflexive questioning of social boundaries, and the inescapable quandary of what exactly it is we were put on this earth to do. In the novel, Blaine deals with all these issues, and more. How successful does he deal with them? Well, how successful are any of us? The most disappointing aspect of the story to me was the part dealing with Blaine's WWI experience - there is none of it! The period of his participation is encompassed in a seven page Interlude. I would think a more full exposition of the impact of the war on Blaine would have been revealing, and may have led to a richer story in the second half of the book. But as it is, it is still a thoughtful, even somewhat haunting tale, and presaged for Fitzgerald even more brilliant writing in the years ahead.

This Side of Paradise by F. Scott Fitzgerald is a classic of American literature, thus there are lots of places to find a plot summary, analysis of characters, etc. so I’ll skip all that and just mention a few things that struck me about the novel.

Amory Blaine, the center of attention of the novel, comes alive as a person, or as a “personage” as it is called by Fitzgerald—more than a mere “personality.” I value this in a novel. I like real people. I get involved in novels where characters “come alive” for me. This is what I want from a book.

Fitzgerald’s writing style is mixed. There are thorny passages with a modernist flavor—odd uses of words, somewhat incoherent syntax, fractured point of view, and so on. Certainly the writing challenges one’s mastery of the English language. Nevertheless unlike some other modernist novels, it never sinks into self-indulgent incoherence. The narrative line is comprehensible and gripping in places. It is not just wallowing in existential angst and woolly self-contemplations.

Fitzgerald does indulge in BS-ing especially toward the end. I got the feeling that he was using the novel as a vehicle to express his half-baked political ideas. The novel gets mushy toward the end. There is also an oddly inconclusive relation to Catholicism throughout the book. In fact everything about Amory and This Side of Paradise is inconclusive.

My main amazement about This Side of Paradise by F. Scott Fitzgerald is the role of WW I in the story—or rather its non-role. Clearly WW I is a frightening monster looming over the lives of young people at the time the events of the novel take place. (Perhaps less for Americans than Europeans, however. But 1,300,000 Americans served in combat in WW I and were decisive for the victory.) In fact the first mention of the war, while Amory is at Princeton University, is flippant. Amory serves in the war, but very little is said about it or thought about it. How can this be? WW I changed everything and we know that Amory’s malaise after the war is a reflection of the general destruction to the old world caused by the war. I find this the most impressive and gripping aspect of This Side of Paradise. That is, the rumbling, groaning, agonizing destruction of the European world that is going on silently in the background of this novel. It gives it a profound sense of detached doom.

In F. Scott Fitzgerald’s Tender is the Night, his hero’s fall from grace is more desultory decline than dramatic drop. But the clue is right there from the start with his name, Dick Diver.

The story starts in the 1920s on the newly fashionable French Riviera. Told in three parts, the first sees Diver’s seemingly perfect life with beautiful but brittle wife Nicole whom he loves. Onto the beach and into his life walks lovely 17-year old Hollywood ingénue Rosemary Hoyt; the attraction is mutual. The movie that has catapulted her to stardom is called Daddy’s Girl. The irony of this title later becomes clear.

The second part goes back to how Dick and his wife first meet - he a respected practitioner in the up-and-coming field of psychiatry, she a patient - and reveals Nicole’s shocking history. In the final part, Dick Diver allows his work, his wife, his social acceptability and his own innate likeability to go adrift as his alcohol consumption increases.

This is F. Scott Fitzgerald’s last and, arguably, greatest book. He was a man who knew a thing or two about alcohol and brittle wives himself. And though in later years he re-worked this haunting novel, I believe that the original sequence – with use of flashback rather than chronological order – must be the stronger. Seen through 20th century eyes, this book must have been a quite a phenomenon; through 21st century eyes, it still has the power to shock and dismay.

This was Fitzgerald’s first novel, published when he was 23.So it’s a coming of age novel and semi-autobiographical. Our main character, Amory, is presented to us as a not-very-likeable egotistical young god. “…he wondered how people could fail to notice he was a boy marked for glory…” He’s so “remarkable looking” that a middle aged woman turns around in the theater to tell him so. He’s the football quarterback but hey, who cares, he gives that up. We are told older boys usually detested him.

He’s a big hit with the girls but he’s disgusted by his first kiss. There’s a lot of chasing of girls, drinking, partying, driving fast cars and a tragedy. The blurbs tell us that some young women used the book as a manual for how to be a jazz-age flapper – this in 1920. We even get a bit of goth when we are told that with one girl “evil crept close to him.”

The book is dense with themes, the main one being wealthy young men in an ivy-league environment –Princeton, where Fitzgerald went. So there’s a lot about college life and the competition among young men, endless hours over coffee BS-ing about philosophy and their “rushing” to get into the “right” clubs. There are a lot of excerpts of poetry he was reading and writing and one-sentence judgements about the classics (in those days) they had to read. And a bit about writing: “…I get distracted when I start to write stories – get afraid I’m doing it instead of living…”

Hanging over all these young men is not just the usual “what am I going to do with my life” but first, waiting to survive being drafted into World War I. Our main character is conscious of the changing of the generations and their different values: The Victorians are dying out and the WWI generation is in. They are playing with socialism. He’s prescient when he tells us “Modern life changes no longer century by century, but year by year, ten times faster than it ever has before…” It sounds as if he’s talking about the age of the internet.

By the end of the book he is world-weary, rejected by a woman, fighting a bout of alcoholism. Disillusioned, he turns against books, women and faith. At one point Amory tells us “I detest poor people” because he saw “only coarseness, physical filth, and stupidity.” Was he a Democrat or a Republican? LOL. He has no family left. He is amazing blasé in how he shrugs off the deaths of first his father, then his mother, and finally a monsignor who was a mentor and confidant. Almost noir but a good book. You can see Fitzgerald’s emerging genius.

Coincidentally I happened to be reading A Separate Peace by John Knowles, while reading Paradise. I’m amazed at the similarities. Rich young men coming of age (a prep school instead of university) while a war goes on (WW II instead of WW I) and the draft hanging over them.

“I detest poor people…it’s essentially cleaner to be corrupt and rich than it is to be innocent and poor,” so says the vain, arrogant, reckless, egotistical protagonist Amory Blaine of F. Scott Fitzgerald’s novel This Side of Paradise. Set on the cusp of the jazz age, Fitzgerald paints a portrait of a young man who is wealthy, has distinct advantages in the world, runs in the “best” circles, is educated at Princeton, and yet, is shallow and worthless, making nothing of his life. I use the word “paint” here deliberately because Fitzgerald proves, in this, his first novel, to be an artist with words. What we came to totally revel in in his The Great Gatsby, which I consider the great American novel, is evident in his first outing. His phrasing is delicious, evoking a world of beauty and a world of harsh reality, as well. This Side of Paradise tells of a young life wasted, and the author seems to not only know that life very well, but he, with his almost satiric look at it, seems to want to warn us away from it. This is a look at the reckless wealthy that Gatsby so admired and wanted to be like, all for the love of woman who wasn’t worthy of it. Amory Blaine, rather than trying to use the advantages life has given him, would rather pine over a lost love and weep over a lost fortune, all the while spouting maudlin poetry and philosophies we don’t believe he believes. And oddly enough, we know from history that the author Fitzgerald, knowing and writing so well about this wasted class of society, succumbed to the same lifestyle. This Side of Paradise is prophetic, indeed.

As I read this book, I thought of "The Great Gatsby". The protagonist Amory Blaine reminded me very much of the people who contributed nothing and took much from jay gatsby at his house parties. The novel is set as a coming of age quest as Amory Blaine comes to terms with the realities that are both external and specific to his era. Amory is born to privilege with wealthy indulgent parents and and Princeton education. His journey through life is metaphoric as it takes him from this wealth and privileged social connections to poverty and isolation. In the end, Amory claims to know himself and that is all that anyone can have.

I did some background research on teh novel and found that it was autobiographical. What struck me about the novel was lack of depth. Amory (and I suppose that this means Fitzgerald) struck me as a dilettante without any intellectual discipline. His Princeton years are described as one in which he ignored the set curriculum and read widely to further his own interests. Fitzgerald must decidedly have hated the required courses in mathematics since there are multiple descriptions of Amory's distaste for discussions of conic sections. Analytic geometry held no interest for Amory. Instead of intellectual discipline, the novel is replete with vague meanderings on topics such as the difference between personalities and personages and how the intellectual elite live differently than the rest. Amory made an intellectual journey and found himself at the end. Amory's narcissism prevented any other finding.

I did enjoy this novel on its own terms. It is an interesting and an above average reading experience in its own right. However, the true value of this novel to me, as a somewhat avid reader, is its place in the overall experience of studying F. Scott Fitzgerald and The Great Gadsby.

I, like most other people, knew of F. Scott Fitzgerald as the author of The Great Gadsby. So the first novel of F. Scott Fitgerald that I read was The Great Gadsby. And I did like it. But I was not as enthralled with it as others seem to be. I have since followed up on that read with a study of the author's life, and a sequential reading of his novels. Now I have grown to have a much greater appreciation of The Great Gadsby.

I am fascinated with various aspects of Fitzgerald's life. As I have come to understand it, this novel, his first, was the only novel of Fitzgerald that was a commercial success during his lifetime. Fitzgerald died believing he was a failure, at least as a novelist. It was only after his death that the Great Gadsby became iconic.

As one reads these novels in order, one finds that the author tends to return to the same general themes. His work tends to be semi-autobiographical and revolves around life in the northeast United States during the so called Guilded Age. One will find diversions to the south and west coast, as well as life in the military during World War One. All of this is drawn from his personal life.

I have since read the author's second novel, The Beautiful and The Damned. The theme of The Guilded Age, as well as the symbolism and metaphors of The Great Gadsby really begin to emerge in these first two novels. This became even more vivid to me in The Beautiful and The Damned. In summation, for me personally, I recommend this novel primarily as a first step to a real savoring of The Great Gadsby. It is in reading these first two novels that I was able to really detect the beginning of the trail and traces to The Great Gadsby.

I'm sixty-eight years old and had never read anything by Fitzgerald, though I did slog through "Zelda" many years ago and arrived at the conclusion that both she and Scott were nuts. After reading a spate of references to him recently, I decided it was time. That was my first error.

This book was populated with rich, cheap, self-centered, egotistic, navel-gazing and sometimes downright cruel characters. I finished it only because I couldn't believe how awful it was and I was convinced it had to get better. After all, everyone loves FSF and they can't be wrong, can they? That was my second error. It didn't get better. It got worse and I heartily resent the hours of my life I wasted on it.

The style is a hodge-podge of everything from prose to poetry to free verse to dramatic script. Banal, non-sensical and precious, it left me wondering what, other than flaunting the wealth of the rich, Fitzgerald was attempting to accomplish. The protagonist and his friends are thoroughly unlikeable, as are the money-grubbing women he loves and leaves (except for the one who left him...smart move, Rosalind).

F. Scott Fitzgerald must be the most over-rated author in American literature, with the possible exception of J. D. Salinger who might have been his identical twin. Save yourself the disappointment and go read Steinbeck instead.

P.S. Yes, I did read "Gatsby". I give up hard. My conclusion was not altered by that experience though it was a tad more readable.

Oh the tale of Dick and Nicole Diver told in the familiar style of F. Scott Fitzgerald. The story is recognizable for those who have read his other popular works like This Side of Paradise and The Great Gatsby. A book that is slow-paced up front picks up momentum in Book II and beyond. The parts some readers may find enjoyable include the psychiatric storyline as well as the post-World War I European lifestyle as described by Fitzgerald.

Much like Fitzgerald's other stories, his main characters revolve around the expatriate life as well as financial prosperity. Based heavily on Zelda Fitzgerald's psychiatric break which sent her to Switzerland for treatment, this story joins much of Fitzgerald's other works as autobiographical. Immediately the reader is plunged into the tale of Dick and Nicole Diver, an up-and-coming American psychiatrist and a patient from his first gig as a doctor, respectively. Cleary there were no doctor/ patient boundaries back then (or at least not documented by Fitzgerald). Dick is on top of the world at the start of the novel while Nicole is merely learning to rejoin society. The couple has come into possession of a lot of money which allows them to spend days on the French Riviera or hike in Switzerland. This plot line alone surely will put off readers who will ask, "Why should I sympathize with rich people?" This is difficult to do in Book I, but continuing through to Book II Fitzgerald begins to pull us in.

Book II rewinds Dick and Nicole's existance to when she was seeking treatment. Impressively Fitzgerald name-drops famous psychological minds such as Freud and Jung. Dick Diver attends a conference where these men also are in attendance. It is a nice glimpse into how the world was during the twenties. Because of Dick's doctorly abilities, the reader finds out why he did not serve in World War I. It certainly wasn't his affluence that prevented him from being slung to the front. As a matter fact, it's quite clear that Dick avoided the War by finding himself in the neutral country of Switzerland. Yet while Dick avoided the War, his role in Nicole's life begins to develop into a sort of sympathy toward him.

It is also in Book II that people who are fans of the television series Mad Men may start to see similarities in Don Draper (note the same initials). Without trying to give too much away, Dick Diver begins to share struggles that Don Draper also battles. At one point in Book II Fitzgerald has the reader pass the same moment as at the start of the novel to return us to the present: Nicole is looking for a chicken recipe while sitting on the beach. It is from there that readers begin to wonder if one should root for Dick Diver. As Fitzgerald ushers us into Book III, the reader has long realized what Dick Diver is dealing with. The shortest book of the novel smacks the reader with as much apathy as a writer like Fitzgerald can get away with.

Interestingly the recurring theme of Dick's desire to ride bikes while alone is of note. While the plot unravels into his lap, he is watching the Tour de France pass through with one rider off the front, then a few chasers, then a bigger group, and finally the remainder of the race. This is the same moment Fitzgerald chooses to make each character's life path known to the reader is blatant terms. This is where Fitzgerald saved the book.

There are times where a writer's name certainly carries a book's success. While Fitzgerald touted this to be one of the best books ever written, it felt like a remarkable struggle. He was nine years removed from The Great Gatsby and was considered to be an afterthought by the time this book came out. An aspect that is quite remarkable is his skill in creating beautiful sentences with retired words thrown in for good cause. Just because these people are rich and running around the posh parts of Europe doesn't mean the reader cannot sympathize with closely-related struggles. That is, in Fitzgerald's world - much like his personal life - even money doesn't make his characters any happier than those lower in societal class. It is that notion throughout his books that makes his name carry big hits.

This book is almost one hundred years old but remains timely. An angst filled exploration of narcissism, romance, economics, and social ordering, it is a record of a young man's intellectual growth spurt and struggle with the meaning of life. The author was very well read and makes a point of it, using it to explain his confused internal debates. He struggles with spirituality and sex and the book is a baring of a young man's torment on these topics. Poor Fitzgerald was already in a dark brood when he wrote this first major work. It is however an honest and searching effort to make some sense of it all.

It WAS endlessly amusing but in the best possible way. Fitzgerald delves into his characters and all of their neurotic tendencies but the story is a little bit of train wreck. It’s all over the place but I kind of liked that aspect of the writing.

Dick, is Nicole’s husband but also her doctor. She’s mentally unstable, which makes it very easy for Dick to have an affair with Rosemary Hoyt. No regard is given to his children and although he cares for Nicole, he doesn’t seem to love her anymore. Love and obligation are two different things. This does not go unnoticed by Nicole so there’s this delicious tension between the two of them which made this a surprisingly enjoyable read.

Tender is the Night is said to be the most autobiographical of his novels and I’d have to agree. His long-time relationship with Zelda and her well-documented mental breakdown is echoed here.

Did I enjoy it more than The Great Gatsby? No. There’s something about Gatsby that grabs me from within. The writing is lovely in both novels but Gatsby is the one that stays with me the most.

I love The Great Gatsby.

So, naturally I was really excited to read another one of F. Scott Fitzgerald's novels.

However, I am feeling very underwhelmed. I acknowledge that this was his first book, but it just wasn't near as good as Gatsby. I loved the romantic sections and the beautiful descriptive language, but I just couldn't get interested in the character of Amory Blaine. His endless search for himself amongst the social conventions of the 1920s just didn't seem very pressing and relevant, as opposed to the enduring themes of the corruption of the American Dream presented in Gatsby. This book did do a goo job of describing the era and the shifting roles of women. Over the course of the novel, Amory falls in love with three women. Two of which are very independent and free, which was unprecedented for the time period. With Rosalind, I saw a lot of the parallels to Gatsby as well as the actual life of Fitzgerald. The idea that if the woman didn't have access to a lot of money, she would cease to be the same woman seems to be a very common theme.

So, while I understand why this book was important as the work that established Fitzgerald as one of the biggest writers about the 1920s I wasn't particularly impressed with the characters or plot.

Dick Diver is at "a fine age for a man." At twenty nine Dr. Diver is a doctor who treats the mentally ill and writes respected tomes on the subject. Nicole is nineteen- a spry wisp of wealth and intelligence. Nicole's demented letters hint of a growing dependence and unnatural affection for the young doctor which blossoms into a marriage and family. The couple meet during the first horror of a pockmarked century as World War One scars Europe. Doctor Diver is a US Army doctor safely ensconced in Switzerland as Europe broils.

The clouds of war pass and reveal the Twenties with its false wealth and leisure class resting on an uncertain pedestal of nebulous wealth. Beach parties on the Riviera reveal the class fissures that were to split society ten years later. Life goes on as Fitzgerald's brave new world of Twenties leisure gives way to strife and affairs.
Nicole becomes involved with Tommy who never leaves the dark past of the trenches and challenges Dick with the primal reality of war remembered. In the end everything declines and tinsel gives way to the darkness that envelops our beginnings and ends as it must.

Published in 1933 the book was the product of ten years of constant revisions stored in six large archive boxes. The book outlived its time and became marooned in the grim world of economic crises and class struggle. Beached in a foreign land and no longer relevant to the time of its creation. A gaily festooned party boat mired in a dark swamp. The prose is descriptive and isolated...popping out like shafts of light on a foggy night.

A journey back to the ancestral graveyard in Virgina is Dick's brief flirtation with Faulkner's funeral trip in "As I Lay Dying"..."The souls made in the new earth in the forest heavy darkness of the seventeenth century."

Much dialog has a time capsule quality to it... "spent coon" or perhaps the provocative ..."Lucky Dick you big stiff" whispers Dick as he concludes "you hit it"... shades of Henry Miller perhaps. Has slang changed that much since 1933?

Interesting scenery passes and is richly described..."the fluorescent waters of the Riviera simmer in the moon." The newly restored trenches and excavated weapons of the Great War next to newly buried graves are described only ten years after the chaos. A grieving sister looks for a recent grave in vain after the War Department gives her a wrong registration number. The past was much closer in 1933.

Like a troubled patient this book meanders and wanders. The book expanded and contracted itself many times like a wheezing accordion... striking the wrong notes to perhaps serve some compulsive purpose in Fitzgerald's own troubled life. Perhaps. The preface, appendix and footnotes tell the tale of this meandering story. We are left to guess about the intent of Fitzgerald since time has dimmed much detail. The dialog is disorganized- perhaps appropriate for a tale about lunacy- but probably due to the large number of revisions.

In the end the Fall occurs as fate weaves its deadly teleos. After all ... Adam's fall cursed us all and the good doctor does not stand outside the cosmos as God does. Diver must out of necessity fall. Dick and Nicole reverse roles and the vitality once in the young doctor transfers as a mysterious process to the young woman. Obscurity envelopes Dick as he wanders through a myriad of small towns becoming increasingly tiny... very small indeed as sprinkles on a cupcake.

Perhaps colorful, but finally just disorganized sprinkles ...the prose and the ever diminished doctor.

The French Riviera. The American expatriate community. Beaches. Glamour. Wealth. No one else has the ability to portray the jazz age quite like F. Scott Fitzgerald, and in "Tender is the Night", he doesn't disappoint.

Rosemary Hoyt is a young movie actress who has been a sensation in exactly one film when she heads to the Riviera with her mother. While on the beach one day, she meets Nicole and Dick Divers, as well as some of their friends, and becomes an "in" with their set. Dick is a handsome, charming, psychiatrist, formerly employed in Zurich but now living on a permanent holiday; Nicole is his young wife, glamorous, beautiful, and nice to a fault.

Initially uncomfortable with those surrounding the Divers, Rosemary quickly develops a crush on Dick, feelings which might not exactly be unrequited. But he and his wife are solid, and their whirlwind life of parties and knowing the right people keeps them always busy. There is a secret, however - a secret so big that one who accidentally witnesses it is shocked beyond words.

If "The Great Gatsby" is the ultimate look at the American Dream, "Tender is the Night" is perhaps one of the ultimate looks at who we are as individuals, how much we influence each other, and how much those around us influence the people we become. Divided into three sections, the first focuses on the glamorous life of the Riviera, while the second goes deep into Dick and Nicole's past, their marriage, and their lives in the years following Part 1. The last section of the book is the result of the two previous parts, the consequences of actions and choices, and the rebirth and deterioration of human relationships.

My only disappointment in this book was that it wasn't entirely focused - while Part 1 sets it up to see as if the book will be told through Rosemary's eyes, the other two sections feature her as a side character (if she appears at all). I don't know if it would have been as strong being told through Dick and Nicole's point of view, but it would have made a bit more sense.

If you're expecting "The Great Gastby" Take 2, this book isn't it. But if you like Fitzgerald's writing and are eager to see what else he had to say about the extraordinary time he was living in, this is a great one to pick up.

Two things about 'This Side of Paradise' will leave a lifelong impression on me. I've only just finished the novel, but I already know that its marks will remain embedded in me like luminescent sparks fallen from the starry skies of literature. The first thing impressed on me, Amory Blaine. Never have I connected with a protagonist more than I have with him. I know his thoughts and musings well, for many of his notions and ideals mirror my own. For good or ill. Amory is my favorite character in literature. The second thing impressed on me from the reading of this book is the way that it was written. Reading of the escapades of Amory was like reading a journal of his that was stuffed with hidden folded letters and notes, scraps of poetry and fiction and even sections of a play. I've never read a novel written like this, and I am extremely impressed that it was F. Scott Fitzgerald's first published work. This is a groundbreaking work.
As always, Fitzgerald's writing was lyrical, descriptive, flowery, and composed of such outstanding memorable prose as to be set apart and above the work of Fitzgerald's contemporaries. Ernest Hemingway will remain my favorite writer, but I can say with assurance that Fitzgerald's talent with words is much more pronounced, though not as true and gripping. Fitzgerald's prose, though phenomenal, has a way of wandering aimlessly in a charming way.
This was a novel I'd started reading at some point last fall, stopped, and only recently started again. I'm not sure why it took me so long, pausing to finish other novels by other writers. What I can say is that I read this novel in they way that Fitzgerald wrote it: in scraps and tatters, half-remembered fragments, until today, in a feverish pace, I read 'This Side of Paradise' from somewhere around its middle to its end. This book, now completed, was absolutely astonishing, a marvel. I can easily see how this novel was instrumental in ushering in the Jazz Age.
I recommend starting Fitzgerald's collection with 'Tales of the Jazz Age' and maybe 'The Great Gatsby', but 'This Side of Paradise' should certainly be coming up next on the reading list. Amory Blaine doesn't disappoint, and you'll never read another book like it.

Oh, Brother !!! This book is just about nothing else but incoherent wordy rants. Fitzgerald pulls a Conztanza even when pulling a Conztanza wasn't even invented yet !!!!.
The main character is an unlikable , unrelatable annoying young man who goes around life expecting everything by doing next to nothing.
The story (if any) is complicated with a bunch of philosophies that makes the reader unable to understand what the author meant. To be honest , i am not sure what i did just read ...i started skipped entire sections in hopes that it will get interesting ,but never did. It is a total mess .Probably someone from that era could had related to this story ...but as today in 2016 just not !.

Before the decade of the Twenties became known for its flappers with bobbed hair and a general freedom for America's youth, F. Scott Fitzgerald advertised those possibilities in his first novel, "This Side of Paradise."

Fitzgerald wrote parts of the novel while a student at Princeton, based on his own experiences. He was a mediocre student at the Ivy League institution, but obtained an education nevertheless by performing with a college theatre group called the Triangle Club and reading literature, much like Amory Blaine, the main character of the novel. Just before he enlisted in the army for the Great War, Fitzgerald tried to get a first draft of his novel published. After the Armistice was signed, Fitzgerald worked as an artist for an advertising firm before quitting, moving to Minnesota, and reworking the novel.

Mass consumerism and mass marketing developed after the Second Industrial Revolution in America. Businesses found that a catchy slogan and well-constructed advertising sold their products. As others caught on, advertising became required. A popular political cartoon of the day reflected the importance of advertising. In the cartoon, an inventor fell asleep outside the door of his out-of-the-way cottage. The reader realizes that building a better mousetrap doesn't guarantee that people will buy the new product, especially if they do not know about it.

Advertising firms hired artists like Amory Blaine to construct the advertisements for these products. Advertisements were featured in newspapers and weekly publications, who hired talented writers to compose short stories to entice the public to read their journals and thus, improve their viability to advertisers. Prices fell as the journals made their profits on selling advertisement. Fitzgerald's short time as an artist with an advertising firm, and his subsequent career as an artist of short stories were as much a fabric of the Twenties as the hedonism in the novel that most readers responded to.

Two of the love interests of Amory Blaine, Isabelle Borgé and Rosalind Connage, were based on real-life loves of Fitzgerald. Fitzgerald was able to get the girl in real life that Amory Blaine could not. The fame generated by his first novel improved Fitzgerald's earnings potential and made him a viable suitor. Thomas Parke D'Invilliers and Monsignor Darcy were also based on friends of Fitzgerald. Amory's mother, Beatrice Blaine, was based on a mother of a friend.

Critics loved the novel, citing it as the only adequate study of the contemporary American adolescent and young adult. Universities condemned Amory Blaine's impression of college life as a country-club atmosphere of snobbery even though colleges, at the time, were primarily composed of students of well-to-do families from prestigious high-school academies. American adolescents and young adults experimented with the drinking and casual kissing outlined in the novel, creating a new sea of morals for the Roaring Twenties. The mass-produced automobile, available to more customers because of its low price, brought mobility into the life of people. Young lovers could get away from judgmental eyes, and they did.

Other notable authors produced stories on similar topics later in the decade. Sinclair Lewis wrote of a middle-aged George Babbitt catching the seven-year itch and going on a drunken spree of debauchery. Oil! of Upton Sinclair also explored the era's possibilities with Bunny Ross, the son of a wealthy oil mogul. These two heavy hitters of literature helped capture the spirit of The Roaring Twenties, but the novels of F. Scott Fitzgerald defined the era. This Side of Paradise and The Great Gatsby are required reading for anyone looking to explore the changing cultural fabric of American society in the Twenties.

Comparisons between Fitzgerald's Tender is the Night and The Great Gatsby are inevitable. Both are viewed as his most complete artistic visions; and both are in the enviable position of being on the Modern Libraries list of the 100 best pieces of fiction of the twentieth century.

Gatsby is gorgeously written, and the language is expressive, nuanced, and multi-leveled. One can read and re-read Gatsby and find new things with each reading. A better definition of a classic I cannot find. Gatsby is also a radically economical novel. Coming in at just 50,000 words, it is nearly a novella. A short book, it seems long due to its reputation and genius. But in the end, it is petite, and Fitzgerald had to work within the confines of this short narrative structure.

Not so with Tender is the Night. At 108,000 words, the novel allows Fitzgerald to sprawl; in the course of the novel, we see far less compressed development of the characters than in Gatsby. There are far more graphic representations of scene, the flow of time, and the outcome of events. Tender shows the reader how good Fitzgerald could be in a longer form. He stretches his wings, and the results are astonishing. It is a moving and tragic novel of love and life gone astray.

Even with some of the novel's problems (does the text really give us enough of Nichole's insanity? Is Dick Diver's descent given enough grounding) Tender is the perfect accompaniment to Gatsby and Gatsby to Tender. For writers, it shows that if lighting does not exactly strike twice, similar results can be produced by and expressed by the same electric charge.

Tender is the Night describes the life and unraveling of a young doctor, Dick Diver, who lived in the 1930's in Paris. The book describes Dick's marriage to Nicole and Dick's love affair with Rosemary, a young actress. This novel is a touching story and a worthwhile read. However, it grapples with some very deep and complex themes, and therefore may leave the reader with more questions than answers.

Tender is the Night wrestles with the powers and limits of several different kinds of love - father, Healer, and Lover. I have written my review about these three kinds of love because I think these themes are central to the understanding of the novel.

For many women it is difficult to untangle between what they need from a man and what they still need from their daddy. Emotionally and psychologically, there can be a fair amount of overlap between the two roles. Physically, however, there is no overlap. Sex with a father is inappropriate and damaging. From the male's perspective, many men enjoy being the savior of the damsel in distress and find it empowering to become the daddy the girl never had. But again there comes a point when the man tires of being a savior/daddy figure and just wants to be a man who is loved for himself without it being predicated on his ability to save or heal. Many men try to give away too much of themselves, and then like Dick, they end up defeated and drained.

Tender is the Night deals with these complex relationships. The love between Dick Diver and Nicole is based on his ability to be her savior/healer. She is his life's work, Fitzgerald notes. The question posed by the book is, however, is this a healthy foundation for a marriage? It means Nicole has to remain sick to continue needing Dick, and he has to forbear on his dreams so he can concentrate on her needs only. How long can this last? The book seems to indicate that this cannot last long. Eventually, Dick tires of his role and becomes resentful of Nicole. Nicole, from her end, keeps her end of the bargain and her illness persists throughout the marriage. However, as soon as she decided to leave Dick and become her own healer, her illness improves. Did Dick and Nicole ever love each other? Maybe; it's an open question.

The theme continues with Rosemary who becomes famous by starring in a film called "Daddy's Girl." Rosemary too is looking for a daddy but for other reasons. She has not been abused by her father like Nicole but has never known her father. She adores Dick in a childish way and yearns to be sexually intimate with him for the wrong reasons; she just wants a daddy figure. Dick responded to her initially by being exactly what she needed him to be--a kind father figure who refused to be intimate with her. But then, just like with Nicole, he couldn't remain the heroic, idealized man for too long. Eventually, Dick gives in and becomes intimate with Rosemary. But Rosemary is disappointed; she liked him better when he was a daddy figure who stood on high moral ground. Was there ever any love between Rosemary and Dick? Again, it's an open question.

Who was Dick? Dick tried to be a hero and healer but eventually he couldn't keep up with the high standards he set for himself. He then began to unravel. He might have fared better had he set lower standards. Many commentators have noted that the events in this novel mirror the events in Fitzgerald's personal life. And this may explain why the Fitzgerald describes Dick Diver's descent into alcoholism without any sympathy. Fitzgerald was hard on his character (Dick Diver) because he was hard on himself - too hard. Dick Diver and men like him deserve sympathy. Dick Diver genuinely wanted to be the perfect man who healed all broken hearts and comforted all broken spirits. In the end, however, it was his heart and spirit that needed mending.

This is perhaps one of the best stories for a twenty-something year old to read during the recession, especially if they have had to set aside their dreams and currently search for something less than extraordinary in order to survive. It is amazing how relevant it is even so long after the emergence of the Jazz Age. Where the book was focused on the clash between old Victorian ideals and the emerging youth liberalization after the first World War, today we find ourselves just as lost. These wars that we've been fighting and this recession that we are suffering through will redefine our nation just as it was redefined after the conflict of WWI. The question is how?

Amory is caught in the very center of this clash between Victorian conservatism and youth liberalization. It is up to him and the other young men and women of the times to either create the new new, or stick with the old. I see the character of Amory Blaine in the face of all my college friends who had dreams of what their lives would be like after graduation, only to have those dreams dashed upon the rocks of this recession. Let us all pray that in the end we don't end up like Fitzgerald, who modeled his character Amory after himself. Let us hope that we don't follow in the path of Amory and are able to regain our aspirations when things improve, otherwise we might drown our hopelessness in bottles of alcohol until it kills us just like the famed U.S. author that wrote this book.

I remember my first experience reading it, back in 11th grade. It is not really the best book for high schoolers, but perhaps in that suburban milieu of doctors' kids and dissolving marriages, it was a good choice. Another reason I wanted to read it was that a Fitzgerald biography said this was pretty much FSF's take on his own, deeply troubled, marriage.

The book begins from the point of view of an innocent - Rosemary Hoyt, an American movie star (this was the 1920s) visiting some people on the Cote d'Azur, at a fictitious place on the shore between Cannes and St. Tropez. She quickly falls for an older man, an American doctor named Dick Diver who is married to a beautiful, and very rich, woman named Nicole. On the surface, everything is beautiful, glamorous, luxurious, and rich. But below there is trouble - quarrels, drunkenness, crazy behavior, homosexuality, and other ills. Rosemary doesn't see it though, and with the stubbornness of a beautiful, naïve girl, she goes after Dick. He resists, but begins to fall in love with her. There is a cast of supporting characters such as Abe North, a wacky drunk, and Tommy Barban, a hotheaded young Frenchman with a military career behind him. '

Rosemary is drawn in, as the reader is, and as the wealthy but mentally disturbed Nicole Warren was. Dick radiates calm, knowledge, success, strength, and joie de vivre. As the story turns to the Divers' marital history, the impressions alter, and the book becomes the tale of Dick's undoing. Diver was a young, hardworking, Yale educated doctor at a clinic in Switzerland. A young, but seriously troubled (probably schizophrenic, as Zelda Fitzgerald was, although this word is not used) gets the hots for him, and against everyone's advice, Dick marries her. She has a mindlessly arrogant rich girl sister, named Baby, who is portrayed superbly. Dick and Nicole have a couple of kids and some good times, but he is as much her medical caretaker as he is her husband, and it starts to wear him down. Things start unravelling. The whole book has a tragic, downward trajectory, a feeling of impending misery that no amount of sunlight and good wine and comfortable surroundings can dispel. '

The book is a downer, but it is a fascinating one, with moments of brilliant writing. Fitzgerald can string words together and juxtapose them with sparkle and casual elegance. The characters' conversations are real and believable, as are the depictions of gay people (ahead of its time, I should think) and the playful rich. It is a very good novel, and deserves to be remembered even if it is not the icon that The Great Gatsby is. No doubt there is some satisfaction in watching the Divers crumble, those people that had every advantage imaginable, but it is still a sad read, and the product of a great artist who was in a great deal of trouble.

As soon as I finished this book, I was ready to start all over and read it again. F. Scott Fitzgerald fills This Side of Paradise with his signature lyricism and beautiful phrasing, and combines it here with autobiographical elements and deep introspection. I love the maturity and wisdom with which Fitzgerald reflects on his own life through the story of Amory Blaine, and how it follows Blaine in times of extreme good and bad fortune, making it much more relatable than a standard tale that follows a hero's journey. I feel it is very descriptive and indicative of the time at which it was written, and I appreciate the way you can pick up on the overall feeling of the time without that explanation even being the focus of the story, which I believe is a nod to Fitzgerald's skill. Overall, I would highly recommend reading this book, ideally multiple times, so you can be sure to pick up on each layer of meaning and the motivation and thought behind each word. The story is one of much more than it might initially appear, and it goes much beyond just the life of Amory Blaine, delving into the pitfalls and feelings of the time period and of growing up in general. Readers can certainly draw parallels from this novel, relate them to their own lives, and even learn a little about how to approach their lives. I certainly did.

The first 40 pages is dull. So is the middle 100 pages. The ending is probably one of the most unsatisfying endings I've ever read as it ends not with not a bang but a sad whimper in diminuendo as if the author just didn't want to work on it anymore and dashed off a coda.

Fitzgerald's lyricism, in my opinion, is simply overrated. Granted, there are some breathtaking passages (which I took note of), but most of the writing was just dull, dull, dull. He would've benefited tremendously from studying storytelling as well since he makes the middle portion so deadly dull that it made me want to chuck it across the room, and butchers the last portion so badly that it came across as amateurish - choppy, rushed, and consequently ungraceful - which gives credence to his own remark about the book: "I would give anything if I hadn't had to write Part III of Tender Is the Night entirely on stimulant..."

He also makes tons of basic storytelling faux pas, such as redundant attributions (e.g. "I think so, too," he agreed), unnecessary and dull passages that add practically nothing to the story, a whole section (the middle section, more specifically from p.114 to 207) where we follow the main characters wander around without any specific objective except to kill time, and the last part that's haphazardly and painfully put together. The result is a very uneven book with deep pits of absolute boredom.

Didn't really like it

F. Scott Fitzgerald's second-highest regarded novel reveals the psyche of its tortured author. As a reading experience, it draws interest from the character of that author, equal parts eloquence and self-loathing. But it lacks the easy engagement and storycraft of Fitzgerald's other fiction.

Published in 1934, nine years after Fitzgerald's prior novel "The Great Gatsby" (and the only other novel after "Gatsby" Fitzgerald lived to complete), "Tender Is The Night" centers around a young, handsome couple who live as wealthy American expatriates on France's Mediterranean coast. Dick Diver is practical but somewhat frustrated, a situation exacerbated by the arrival of ingénue film actress Rosemary Hoyt. Encouraged by her mother, Rosemary takes a fancy to Dick and decides to lose her virginity to him. Dick's wife Nicole senses something is brewing, but her husband's fidelity is far from the only issue on her very full plate.

Two psychoanalytic profiles dominate this book. The first, of Nicole Diver, is shallow and unconvincing. The other, of the author himself, is far more engaging, if more a matter of connecting the dots between Fitzgerald and Dick than what the text itself affords. Dick, we come to learn, is a man of great potential, a leader in his chosen field who chooses to exile himself at the height of his success. As the book goes on, Dick descends deeper into alcohol and social-outcast status. While his profession is psychoanalysis, he is often found late in the novel working on a giant manuscript he never seems able to finish. The Fitzgerald parallels are obvious and will fascinate admirers.

But the novel feels thin at its core. I don't think I could put it any better than the title of Michael G.'s review from July 2011 - "Slender Is The Plot." Divided in three sections, each primarily seen through the lens of a different person - first Rosemary, then Dick, then Nicole - "Tender" is a lot of to-ing and fro-ing about the continent, with people giving random voice to their concerns in the Age of Anxiety in-between squabbles and trysts. The characters seem more like narrative constructs than real people. Dick, for example, goes from solid citizen in the early and middle section (a large part of which is a flashback to an earlier period in his life) to dangerous drunk for no better reason it seems than a girl he pines for. Jimmy Buffett knew better than to lean on that excuse too hard, but it forms the spine of our story.

Fitzgerald seems more self-indulgent here, both in his writing (a lot of description gets troweled upon incidents of little or no importance to the larger story, like a visit to a World War I battlefield or the drunken antics of a doomed friend) and in what he writes about, with Dick reduced on account of allowing himself to be used by both his wife and his would-be mistress. It's not his fault he's so damn sexy! The drinking issue comes up as an afterthought, as if Fitzgerald felt lost without employing his trademark malady. But Dick's issues, like Nicole's, never seem very real. Neither, at their heart, do Dick and Nicole, however much they are being used here as stand-ins for Fitzgerald and his famously troubled wife Zelda.

What I enjoyed about "Tender Is The Night" is the wonderful sense of place one gets, right from the beginning when we see the coast of France from a hotel "and its bright tan prayer rug of a beach." Fitzgerald overloads on the adjectives and adverbs, it seems more than usual for him, but his amazing craft carries this off to solid and sometimes spectacular effect. There are a hundred perfect sentences buried in this book, sometimes attached to killer paragraphs: "In the dead white hours in Zurich staring into a stranger's pantry across the upshine of a street-lamp, he used to think that he wanted to be good, he wanted to be kind, he wanted to be brave and wise, but it was all pretty difficult. He wanted to be loved, too, if he could fit it in."

Reading prose like that made me hungry for the deeper experience of other Fitzgerald works, not only the impossibly perfect "Gatsby" but "The Beautiful And Damned," which like "Tender" is focused on a couple's travails within a social set but of a more engaging, visceral, humorously-alive kind. The problem with Fitzgerald is he's a good writer here, but looking rather lost in comparison to his younger self.

I and most of my contemporaries were smitten by novels even before we first encountered F. Scott Fitzgerald in our adolescence. And then most of those among us who didn't already adore good fiction became lifelong addicts when they first read The Great Gatsby or Tender is the Night. (The few remaining holdouts were those unlucky enough to have been cursed in their cradles by the Wicked Fairy VG -- the awful VIDEO GAMES, killer of brain cells and mistress of illiteracy). Why then the ensuing years of skimming Fitzgerald's books when we saw new editions and not feeling the thrill of our first encounter with the work? Had we just been deceived in the first place, perhaps by our youthful naivete? I was beginning to think that that was what had happened until I saw this edition -- and realized what an enormous difference a presentation can make. This quite wonderful new edition of Tender is the Night restored all the thrill of the first encounter. Buy this one, and you will perhaps recapture (as I did) that first fine careless rapture. And that sent me to the same source's edition of The Great Gatsby, which (I am happy to say) also thrilled me afresh and reminded me what a wonderful book can do. Buy both, and hope for more.

Fitzgerald's first novel, This Side of Paradise was given a tentative thumbs-down by the literati of the day, most not understanding what Fitzgerald was trying to accomplish. And even today it's not a particularly easy read. From the standpoint of early twenty-first century, though, the book seems a precursor to postmodern literature, with its disjointed narrative, its social and political references, and above all, its overwhelming self-awareness. The book has been called a critique of humanity's attraction to glamour, but that hardly seems the complete story.
Amory Blaine is a well-to-do, bratty WASP - egoistic, handsome, with a glib mouth. Underlying all this is an insecurity that begins to show its teeth during Amory's Princeton days, as his mum dies and leaves him with nothing of value. He turns to girls for succor, but he quickly discovers, in the way of early twentieth-century life in the U.S., that his looks, his disarming way, have little truck without a serious jingle in his pocket.
So Amory enters into a series of promising but ultimately unfulfilling romances, joins the army during World War I, and returns to life as a menial ad copy writer. His conscience during this time is a Catholic priest, Thayer Darcy, who has had a dalliance with Amory's mum in days past. But Amory can't be corralled by faith and religion. He does, though, offer to sacrifice himself before the law in order to save a friend's reputation. Still, even this turns to spoiled milk.
In the book's final pages, Fitzgerald offers a clumsy, summarizing motif: Amory is given a ride by two well-off, conservative men, and they enter into an argument concerning what today would be Milton Friedman's capitalism versus socialism. I was stunned as I read these pages - how appropriate that argument seems to today's bare-knuckled conflicts over the same ideological ground!

Fitzgerald's writing here is brilliant in places, but his structure seems of the ad hoc variety. As with the argument mentioned above, many of the book's themes and situations are handled clumsily or are dropped unfinished as the author moves on to other ideas. At its basis it's a bildungsroman. But there's also Amory's fall from grace, which establishes his reinvention, something that was a religio-literary staple of the day. In the end, Fitzgerald leaves Amory disillusioned but hopeful. In the final paragraphs, Amory sums up thusly:

"It's all a poor substitute at best," he said sadly.
And he could not tell why the struggle was worth while, why he had determined to use to the utmost himself and his heritage from the personalities he had passed....
He stretched out his arms to the crystalline, radiant sky.
"I know myself," he cried, "but that is all."
Still, that 's a start, as this supremely talented writer began a slow, awkward climb toward a never-achieved literary perfection.

The only Fitzgerald I had ever read was GATSBY. After seeing the new film version, I decided I'd like to read some more Fitzgerald. THIS SIDE OF PARADISE had been on my list for a long time. I have to confess that I was a little disappointed. It's a coming-of-age story set in the World War I era about a spoiled rich boy who goes to Princeton. It contains some keen observations on the lives of the American rich during that period that made it worth reading for me, but as a novel, is clumsily written and appears to have been cobbled together from several works set in the same milieu. The seams show. But as a sociological document I think it's quite valuable. I certainly wouldn't regard this as essential reading, but if one already has in interest in Fitzgerald, this is not a waste of time.

This particular edition is beautifully designed. Even if you have no intention of reading it, the gorgeous art-deco styled cover makes a splendid prop for the interior decorator trying to project an image of glamor and sophistication.

One of the best works of American literature ever, "Tender is the Night" is often overlooked due to the popularity of Fitzgerald's more well known work, "The Great Gatsby." In my opinion, great works of American literature simultaneously capture the time in which they are set, and perfectly arc these struggles and triumphs to wider, common themes. Somewhat reflective of his own life, Tender tells the story of a psychiatrist who pulls a reverse Florence Nightingale and falls for one his is patients before she's truly better. The resultant relationship is less than perfect, but he struggles with duty to his vows, and the longings of his heart when a new interest- scandalous in her own way- makes her way on his scene.

As always, reading Fitzgerald is like watching an author make slow, passionate love to the dictionary. He's brilliant with words, but not hifalutin like many of his contemporaries. What he tells is a captivating bittersweet tale of confusions and conflict, set against a beautiful backdrop of pain, joy and strife.

Tender Is the Night by legendary author F. Scott Fitzgerald chronicles the tragic fall from grace of Dick Diver, a brilliant American psychiatrist. Through most of the book's angst laden narrative, Dr. Diver has only one patient, Nicole Diver, his wealthy and beautiful wife.

The reader's introduction to the Divers is through the eyes of Rosemary Hoyt, an 18 year old silent screen starlet, as she meets the Divers and their entourage on the French Riviera. Rosemary falls madly in love with the charismatic doctor whose supremely confident demeanor makes him the focus of attention wherever he goes. As the story slowly unfolds, Rosemary is relegated to minor character status and Fitzgerald concentrates on describing the relationship between Dick and Nicole.

We learn how the two met while Nicole was hospitalized in a Swiss psychiatric facility and how it was they decided to marry. Nicole's wealth allows them to live like royalty as they make Europe their playground. But eventually Dick succumbs to alcoholism and his career and marriage suffer as a result.

Tender Is the Night had special meaning for F. Scott Fitzgerald, who reportedly worked on it over a 9 year period from 1925 to 1934. His wife, Zelda, was a diagnosed schizophrenic who was no stranger to Swiss psychiatric hospitals and Fitzgerald himself battled alcoholism. Unfortunately, whatever deep meaning the author intended this novel to convey is not at all apparent. Most readers will see this book as a disjointed collection of curious anecdotes about spoiled rich people.

Reading Tender Is the Night in its entirety is a tough slog. I'm not sure the story it has to tell justifies the effort.

The novel tells the story of the Nicole and Dick Diver, a wealthy, American couple living in Europe in the early 20th century. As the story opens they are introduced to a young movie actress, Rosemary, who is infatuated with Dick and with the lifestyle the Divers and their friends enjoy. Slowly Rosemary, and the reader, watches the Divers' marriage disintegrate, and Dick, in particular, descend into alcoholic despair.

There is no question that Fitzgerald could write brilliantly. It is a complex and thought-provoking look at human failing, at fear and weakness, and at self-destruction. However, I could not stand any of the characters, and really did not care what happened to them. Maybe it's his focus on this very hedonistic lifestyle. This is not the first work by Fitzgerald I've read and I've had a similar reaction in the past. I've also read books by other authors who shone a bright light on a wealthy class - Edith Wharton for example - without feeling that same disconnection with their characters or complete distaste for their lifestyle. I give it 4 stars based on the strength of Fitzgerald's writing; it is full of exquisitely crafted passages which simply took my breath away.

Trevor White does a wonderful job of performing the audio book. His pacing and voice inflection breathed life into the characters.

Part of the problem with Fitzgerald's being affiliated with a prized novel, The Great Gatsby, is that the author's other novels must be compared to it. I use this as an opening because, while the instances of early talent in the writer are here in his debut novel, the story, even though richly autobiographical, fell a little flat. Maybe this is part due to the fact that for a good deal of the book the protagonist, Amory Blaine, is pretty much synonymous with the shallow, aimless generation that Fitzgerald and other Lost Generation authors tried to depict. With the exception of minor moments of insight late in the novel, Amory is as superficial as the world seems around him.

Some have a problem with the experimental format of This Side of Paradise. It is written as a narrative, poem, drama, letter and journal. I didn't feel that way, and thought it gave a unique aspect to the novel. Fitzgerald's technique seems to coincide with the modern novel of experimenting with narrative. However, the story's subject itself clearly comes across as an author working into his craft, rather than having perfected it.

Within the story, Amory Blaine searches for identity and meaning of life amid outside influences--his mother, the world, the war, his acquaintances at school, his friendships, and his loves. While there were some moments of insight, the story comes across as a bit flat and meandering. In the final estimation, the characters were a bit too artificial.

Fitzgerald's movement towards perfecting his skill is evidenced, however. There are some valid insightful moments for the protagonist in the book's concluding pages, and Fitzgerald's style is evidenced in these brief snapshots. Fitzgerald's style would be perfected later in The Great Gatsby.

This pretty much takes me back to my original argument. The Great Gatsby is vastly superior in terms of depth, narrative and likability of main protagonist than This Side of Paradise. Not to say that there isn't a glimpse of talent here, and future higher achievements, but I'd rather be reading The Great Gatsby.

This is a complex coming of age tale about a young man that doesn't really come of age. The young protagonist, Amory Blaine, struggles to find and accept the real person he is as his "fundamental self" and his "conformist self" clash throughout. Amory has a few personality traits (an unreasonable sense of entitlement --possibly from overpampering-- and general lack of self-confidence masked by glibness) that also hinder him from attempting to find out who he is. I found him to be a very frustrating, yet real character that seems completely relatable. Amory has alot on his plate by society's views. He knows he's supposed to do what's necessary to achieve the American Dream, and even though he has been given all the comforts (good money, good schools) and advantages to better achieve that dream, it's not enough. He is confused by why these opportunities aren't just falling into his lap, since by society's views he's doing everything right. He goes through the motions, but finds nothing inspiring. He is constantly sizing himself up to his peers and is jealous that they seem to have something to stand for and he can't seem to feel anything but ambivalence for all situations he's in. His character is so young and naive that you can't help but feel sorry for him. He spends the whole book putting on airs when inside he's a confused and scared kid. While he is a wise-mouth, he is not a wise person. Even the end of the novel is as unsure as he is. I thought it was really humanizing and almost reassuring to see a character out there that is so flawed and realistic.

Published in 1920, F. Scott Fitzgerald's first novel was wildly controversial, critically lauded, and an instant bestseller. Read today, it may be difficult to understand why; the story is a highly episodic "bildungroman" of a pampered, arrogant young man as he drifts with noticeable lack of appreciation through corridors of power and pleasure without absorbing much in the way of insight. But it is precisely because of that THIS SIDE OF PARADISE was felt to be such a shocker in its era: the very notion that any one would write a novel about such a slacker was controversial and new. Amory Blaine is among the first "anti-heroes" of the 20th Century, the opening salvo in a literary tradition that would eventually encompass everything from CATCHER IN THE RYE to ONE FLEW OVER THE CUCKOO'S NEST to CATCH-22.

In addition to its unexpected apathy, PARADISE was also considered shocking for its portrait of women. Certainly many writers, including numerous female authors, had written about women intelligently--but Fitzgerald stands astride the shift between what was and what is. A society belle of earlier generations would never admit to having been kissed before marriage; the "popular daughter" of the 1910s was not only kissed, she actively connived at it, and she didn't mind talking about it afterward. Fitzgerald's portraits of these seemingly new creatures, who had money and social background, who stayed out late and necked in strange apartments, and who didn't seem to give a damn about what people of thought of them, is at once tender and icy cold. To say that the portrait horrified the parents of teenage girls from New York to California would be a significant understatement.

At the time of its publication, THIS SIDE OF PARADISE was considered "an experimental novel," largely because Fitzgerald shifts between several different narrative styles as the book progresses. At the time it seemed very fresh and new, but in truth the effect was not so much designed as accidental: the novel was cobbled together from Fitzgerald's earlier, unpublished writings, and the contrasts and shifts that seemed fresh and new in 1920 quickly came to feel uneven afterward. Fitzgerald never made the same mistake. His later works would be planned, written and re-written, and polished to an almost superhuman degree. But in spite of the book's uneven narrative, it is very much what we think of when we think of Fitzgerald as a writer: sparks of poetry illuminating the psychology of slightly uncertain, often dubious characters, all interwoven with the hazards of careless wealth and incautious romance. Critics of the day hailed him as a major new talent, and his major works continue to stand the test of time.

Like most of Fitzgerald's novels, PARADISE is distinctly autobiographical in nature. The novel begins with a portrait Amory as a child, son of a non-descript father and the fabulously wealthy, wildly pretentious, and ridiculously eccentric Beatrice--whose influence is one of self-indulgent ennui. In a fit of social ambition, Amory decides to depart from his mother's pseudo-intellectualism and European pretensions and "go to school," enduring an unpleasant stint at an eastern prep school before entering Princeton. But although he rejects his mother's way of life, he is still very much her child; he is a superficial student at best, and he drifts through everything from superficial romances to philosophy class to The Great War without seeming to profit from the experience. An arrogant slacker, he arrives at the end of the novel to find himself without any personal resources, either tangible or internal. What is the point? In forcing the reader to that question, Fitzgerald effectively summed up the attitude of an entire generation. What was it all for? Why do we bother? Perhaps the best any of us can hope is a little comfort here and there and a good time along the way. It was an attitude that marked the beginning of the 1920s roar.

The novel is particularly distinguished by a sense of irony. Amory may not be a likeable person, but the follies of youth--most particularly its pretensions--have not changed significantly over years, and Fitzgerald plays them out with a dry sense of humor that makes the careful reader wince time and again. Amory is indeed insufferable, but so have most of us been at one time or another, and the effect is comic, embarrasing, ridiculous, and at times down right painful. It is also particularly memorable, as many have pointed out, for its brilliant portrait of Princeton during the 1910s; indeed, the school becomes a major character in the novel, and while Amory develops a romantic appreciation of it, his great failure is that he never bothers to scratch the romantic surface in search of the core values that support it. It is, as Fitzgerald himself might have said, the curse of the mother visited on the son, a wallow in luxury without an appreciation for the hard work that supports it.

THIS SIDE OF PARADISE is not really much read these days, and on the occasions that is read, it is usually read by those who are already fans of later Fitzgerald works such as THE GREAT GATSBY and TENDER IS THE NIGHT. It may well be that it is best left to such; I find it hard to believe that the typical reader, if there is such a thing, will be able to grasp what made it so unexpected in 1920. I do recommend it, flawed though it is, but this is really a novel that for all its beauties is probably best left to hardcore fans.

GFT, the store Reviewer

I love The Great Gatsby.

So, naturally I was really excited to read another one of F. Scott Fitzgerald's novels.

However, I am feeling very underwhelmed. I acknowledge that this was his first book, but it just wasn't near as good as Gatsby. I loved the romantic sections and the beautiful descriptive language, but I just couldn't get interested in the character of Amory Blaine. His endless search for himself amongst the social conventions of the 1920s just didn't seem very pressing and relevant, as opposed to the enduring themes of the corruption of the American Dream presented in Gatsby. This book did do a goo job of describing the era and the shifting roles of women. Over the course of the novel, Amory falls in love with three women. Two of which are very independent and free, which was unprecedented for the time period. With Rosalind, I saw a lot of the parallels to Gatsby as well as the actual life of Fitzgerald. The idea that if the woman didn't have access to a lot of money, she would cease to be the same woman seems to be a very common theme.

So, while I understand why this book was important as the work that established Fitzgerald as one of the biggest writers about the 1920s I wasn't particularly impressed with the characters or plot.

Dick Diver is at "a fine age for a man." At twenty nine Dr. Diver is a doctor who treats the mentally ill and writes respected tomes on the subject. Nicole is nineteen- a spry wisp of wealth and intelligence. Nicole's demented letters hint of a growing dependence and unnatural affection for the young doctor which blossoms into a marriage and family. The couple meet during the first horror of a pockmarked century as World War One scars Europe. Doctor Diver is a US Army doctor safely ensconced in Switzerland as Europe broils.

The clouds of war pass and reveal the Twenties with its false wealth and leisure class resting on an uncertain pedestal of nebulous wealth. Beach parties on the Riviera reveal the class fissures that were to split society ten years later. Life goes on as Fitzgerald's brave new world of Twenties leisure gives way to strife and affairs.
Nicole becomes involved with Tommy who never leaves the dark past of the trenches and challenges Dick with the primal reality of war remembered. In the end everything declines and tinsel gives way to the darkness that envelops our beginnings and ends as it must.

Published in 1933 the book was the product of ten years of constant revisions stored in six large archive boxes. The book outlived its time and became marooned in the grim world of economic crises and class struggle. Beached in a foreign land and no longer relevant to the time of its creation. A gaily festooned party boat mired in a dark swamp. The prose is descriptive and isolated...popping out like shafts of light on a foggy night.

A journey back to the ancestral graveyard in Virgina is Dick's brief flirtation with Faulkner's funeral trip in "As I Lay Dying"..."The souls made in the new earth in the forest heavy darkness of the seventeenth century."

Much dialog has a time capsule quality to it... "spent coon" or perhaps the provocative ..."Lucky Dick you big stiff" whispers Dick as he concludes "you hit it"... shades of Henry Miller perhaps. Has slang changed that much since 1933?

Interesting scenery passes and is richly described..."the fluorescent waters of the Riviera simmer in the moon." The newly restored trenches and excavated weapons of the Great War next to newly buried graves are described only ten years after the chaos. A grieving sister looks for a recent grave in vain after the War Department gives her a wrong registration number. The past was much closer in 1933.

Like a troubled patient this book meanders and wanders. The book expanded and contracted itself many times like a wheezing accordion... striking the wrong notes to perhaps serve some compulsive purpose in Fitzgerald's own troubled life. Perhaps. The preface, appendix and footnotes tell the tale of this meandering story. We are left to guess about the intent of Fitzgerald since time has dimmed much detail. The dialog is disorganized- perhaps appropriate for a tale about lunacy- but probably due to the large number of revisions.

In the end the Fall occurs as fate weaves its deadly teleos. After all ... Adam's fall cursed us all and the good doctor does not stand outside the cosmos as God does. Diver must out of necessity fall. Dick and Nicole reverse roles and the vitality once in the young doctor transfers as a mysterious process to the young woman. Obscurity envelopes Dick as he wanders through a myriad of small towns becoming increasingly tiny... very small indeed as sprinkles on a cupcake.

Perhaps colorful, but finally just disorganized sprinkles ...the prose and the ever diminished doctor.

The French Riviera. The American expatriate community. Beaches. Glamour. Wealth. No one else has the ability to portray the jazz age quite like F. Scott Fitzgerald, and in "Tender is the Night", he doesn't disappoint.

Rosemary Hoyt is a young movie actress who has been a sensation in exactly one film when she heads to the Riviera with her mother. While on the beach one day, she meets Nicole and Dick Divers, as well as some of their friends, and becomes an "in" with their set. Dick is a handsome, charming, psychiatrist, formerly employed in Zurich but now living on a permanent holiday; Nicole is his young wife, glamorous, beautiful, and nice to a fault.

Initially uncomfortable with those surrounding the Divers, Rosemary quickly develops a crush on Dick, feelings which might not exactly be unrequited. But he and his wife are solid, and their whirlwind life of parties and knowing the right people keeps them always busy. There is a secret, however - a secret so big that one who accidentally witnesses it is shocked beyond words.

If "The Great Gatsby" is the ultimate look at the American Dream, "Tender is the Night" is perhaps one of the ultimate looks at who we are as individuals, how much we influence each other, and how much those around us influence the people we become. Divided into three sections, the first focuses on the glamorous life of the Riviera, while the second goes deep into Dick and Nicole's past, their marriage, and their lives in the years following Part 1. The last section of the book is the result of the two previous parts, the consequences of actions and choices, and the rebirth and deterioration of human relationships.

My only disappointment in this book was that it wasn't entirely focused - while Part 1 sets it up to see as if the book will be told through Rosemary's eyes, the other two sections feature her as a side character (if she appears at all). I don't know if it would have been as strong being told through Dick and Nicole's point of view, but it would have made a bit more sense.

If you're expecting "The Great Gastby" Take 2, this book isn't it. But if you like Fitzgerald's writing and are eager to see what else he had to say about the extraordinary time he was living in, this is a great one to pick up.

Two things about 'This Side of Paradise' will leave a lifelong impression on me. I've only just finished the novel, but I already know that its marks will remain embedded in me like luminescent sparks fallen from the starry skies of literature. The first thing impressed on me, Amory Blaine. Never have I connected with a protagonist more than I have with him. I know his thoughts and musings well, for many of his notions and ideals mirror my own. For good or ill. Amory is my favorite character in literature. The second thing impressed on me from the reading of this book is the way that it was written. Reading of the escapades of Amory was like reading a journal of his that was stuffed with hidden folded letters and notes, scraps of poetry and fiction and even sections of a play. I've never read a novel written like this, and I am extremely impressed that it was F. Scott Fitzgerald's first published work. This is a groundbreaking work.
As always, Fitzgerald's writing was lyrical, descriptive, flowery, and composed of such outstanding memorable prose as to be set apart and above the work of Fitzgerald's contemporaries. Ernest Hemingway will remain my favorite writer, but I can say with assurance that Fitzgerald's talent with words is much more pronounced, though not as true and gripping. Fitzgerald's prose, though phenomenal, has a way of wandering aimlessly in a charming way.
This was a novel I'd started reading at some point last fall, stopped, and only recently started again. I'm not sure why it took me so long, pausing to finish other novels by other writers. What I can say is that I read this novel in they way that Fitzgerald wrote it: in scraps and tatters, half-remembered fragments, until today, in a feverish pace, I read 'This Side of Paradise' from somewhere around its middle to its end. This book, now completed, was absolutely astonishing, a marvel. I can easily see how this novel was instrumental in ushering in the Jazz Age.
I recommend starting Fitzgerald's collection with 'Tales of the Jazz Age' and maybe 'The Great Gatsby', but 'This Side of Paradise' should certainly be coming up next on the reading list. Amory Blaine doesn't disappoint, and you'll never read another book like it.

Oh, Brother !!! This book is just about nothing else but incoherent wordy rants. Fitzgerald pulls a Conztanza even when pulling a Conztanza wasn't even invented yet !!!!.
The main character is an unlikable , unrelatable annoying young man who goes around life expecting everything by doing next to nothing.
The story (if any) is complicated with a bunch of philosophies that makes the reader unable to understand what the author meant. To be honest , i am not sure what i did just read ...i started skipped entire sections in hopes that it will get interesting ,but never did. It is a total mess .Probably someone from that era could had related to this story ...but as today in 2016 just not !.

Before the decade of the Twenties became known for its flappers with bobbed hair and a general freedom for America's youth, F. Scott Fitzgerald advertised those possibilities in his first novel, "This Side of Paradise."

Fitzgerald wrote parts of the novel while a student at Princeton, based on his own experiences. He was a mediocre student at the Ivy League institution, but obtained an education nevertheless by performing with a college theatre group called the Triangle Club and reading literature, much like Amory Blaine, the main character of the novel. Just before he enlisted in the army for the Great War, Fitzgerald tried to get a first draft of his novel published. After the Armistice was signed, Fitzgerald worked as an artist for an advertising firm before quitting, moving to Minnesota, and reworking the novel.

Mass consumerism and mass marketing developed after the Second Industrial Revolution in America. Businesses found that a catchy slogan and well-constructed advertising sold their products. As others caught on, advertising became required. A popular political cartoon of the day reflected the importance of advertising. In the cartoon, an inventor fell asleep outside the door of his out-of-the-way cottage. The reader realizes that building a better mousetrap doesn't guarantee that people will buy the new product, especially if they do not know about it.

Advertising firms hired artists like Amory Blaine to construct the advertisements for these products. Advertisements were featured in newspapers and weekly publications, who hired talented writers to compose short stories to entice the public to read their journals and thus, improve their viability to advertisers. Prices fell as the journals made their profits on selling advertisement. Fitzgerald's short time as an artist with an advertising firm, and his subsequent career as an artist of short stories were as much a fabric of the Twenties as the hedonism in the novel that most readers responded to.

Two of the love interests of Amory Blaine, Isabelle Borgé and Rosalind Connage, were based on real-life loves of Fitzgerald. Fitzgerald was able to get the girl in real life that Amory Blaine could not. The fame generated by his first novel improved Fitzgerald's earnings potential and made him a viable suitor. Thomas Parke D'Invilliers and Monsignor Darcy were also based on friends of Fitzgerald. Amory's mother, Beatrice Blaine, was based on a mother of a friend.

Critics loved the novel, citing it as the only adequate study of the contemporary American adolescent and young adult. Universities condemned Amory Blaine's impression of college life as a country-club atmosphere of snobbery even though colleges, at the time, were primarily composed of students of well-to-do families from prestigious high-school academies. American adolescents and young adults experimented with the drinking and casual kissing outlined in the novel, creating a new sea of morals for the Roaring Twenties. The mass-produced automobile, available to more customers because of its low price, brought mobility into the life of people. Young lovers could get away from judgmental eyes, and they did.

Other notable authors produced stories on similar topics later in the decade. Sinclair Lewis wrote of a middle-aged George Babbitt catching the seven-year itch and going on a drunken spree of debauchery. Oil! of Upton Sinclair also explored the era's possibilities with Bunny Ross, the son of a wealthy oil mogul. These two heavy hitters of literature helped capture the spirit of The Roaring Twenties, but the novels of F. Scott Fitzgerald defined the era. This Side of Paradise and The Great Gatsby are required reading for anyone looking to explore the changing cultural fabric of American society in the Twenties.

Comparisons between Fitzgerald's Tender is the Night and The Great Gatsby are inevitable. Both are viewed as his most complete artistic visions; and both are in the enviable position of being on the Modern Libraries list of the 100 best pieces of fiction of the twentieth century.

Gatsby is gorgeously written, and the language is expressive, nuanced, and multi-leveled. One can read and re-read Gatsby and find new things with each reading. A better definition of a classic I cannot find. Gatsby is also a radically economical novel. Coming in at just 50,000 words, it is nearly a novella. A short book, it seems long due to its reputation and genius. But in the end, it is petite, and Fitzgerald had to work within the confines of this short narrative structure.

Not so with Tender is the Night. At 108,000 words, the novel allows Fitzgerald to sprawl; in the course of the novel, we see far less compressed development of the characters than in Gatsby. There are far more graphic representations of scene, the flow of time, and the outcome of events. Tender shows the reader how good Fitzgerald could be in a longer form. He stretches his wings, and the results are astonishing. It is a moving and tragic novel of love and life gone astray.

Even with some of the novel's problems (does the text really give us enough of Nichole's insanity? Is Dick Diver's descent given enough grounding) Tender is the perfect accompaniment to Gatsby and Gatsby to Tender. For writers, it shows that if lighting does not exactly strike twice, similar results can be produced by and expressed by the same electric charge.

Tender is the Night describes the life and unraveling of a young doctor, Dick Diver, who lived in the 1930's in Paris. The book describes Dick's marriage to Nicole and Dick's love affair with Rosemary, a young actress. This novel is a touching story and a worthwhile read. However, it grapples with some very deep and complex themes, and therefore may leave the reader with more questions than answers.

Tender is the Night wrestles with the powers and limits of several different kinds of love - father, Healer, and Lover. I have written my review about these three kinds of love because I think these themes are central to the understanding of the novel.

For many women it is difficult to untangle between what they need from a man and what they still need from their daddy. Emotionally and psychologically, there can be a fair amount of overlap between the two roles. Physically, however, there is no overlap. Sex with a father is inappropriate and damaging. From the male's perspective, many men enjoy being the savior of the damsel in distress and find it empowering to become the daddy the girl never had. But again there comes a point when the man tires of being a savior/daddy figure and just wants to be a man who is loved for himself without it being predicated on his ability to save or heal. Many men try to give away too much of themselves, and then like Dick, they end up defeated and drained.

Tender is the Night deals with these complex relationships. The love between Dick Diver and Nicole is based on his ability to be her savior/healer. She is his life's work, Fitzgerald notes. The question posed by the book is, however, is this a healthy foundation for a marriage? It means Nicole has to remain sick to continue needing Dick, and he has to forbear on his dreams so he can concentrate on her needs only. How long can this last? The book seems to indicate that this cannot last long. Eventually, Dick tires of his role and becomes resentful of Nicole. Nicole, from her end, keeps her end of the bargain and her illness persists throughout the marriage. However, as soon as she decided to leave Dick and become her own healer, her illness improves. Did Dick and Nicole ever love each other? Maybe; it's an open question.

The theme continues with Rosemary who becomes famous by starring in a film called "Daddy's Girl." Rosemary too is looking for a daddy but for other reasons. She has not been abused by her father like Nicole but has never known her father. She adores Dick in a childish way and yearns to be sexually intimate with him for the wrong reasons; she just wants a daddy figure. Dick responded to her initially by being exactly what she needed him to be--a kind father figure who refused to be intimate with her. But then, just like with Nicole, he couldn't remain the heroic, idealized man for too long. Eventually, Dick gives in and becomes intimate with Rosemary. But Rosemary is disappointed; she liked him better when he was a daddy figure who stood on high moral ground. Was there ever any love between Rosemary and Dick? Again, it's an open question.

Who was Dick? Dick tried to be a hero and healer but eventually he couldn't keep up with the high standards he set for himself. He then began to unravel. He might have fared better had he set lower standards. Many commentators have noted that the events in this novel mirror the events in Fitzgerald's personal life. And this may explain why the Fitzgerald describes Dick Diver's descent into alcoholism without any sympathy. Fitzgerald was hard on his character (Dick Diver) because he was hard on himself - too hard. Dick Diver and men like him deserve sympathy. Dick Diver genuinely wanted to be the perfect man who healed all broken hearts and comforted all broken spirits. In the end, however, it was his heart and spirit that needed mending.

This is perhaps one of the best stories for a twenty-something year old to read during the recession, especially if they have had to set aside their dreams and currently search for something less than extraordinary in order to survive. It is amazing how relevant it is even so long after the emergence of the Jazz Age. Where the book was focused on the clash between old Victorian ideals and the emerging youth liberalization after the first World War, today we find ourselves just as lost. These wars that we've been fighting and this recession that we are suffering through will redefine our nation just as it was redefined after the conflict of WWI. The question is how?

Amory is caught in the very center of this clash between Victorian conservatism and youth liberalization. It is up to him and the other young men and women of the times to either create the new new, or stick with the old. I see the character of Amory Blaine in the face of all my college friends who had dreams of what their lives would be like after graduation, only to have those dreams dashed upon the rocks of this recession. Let us all pray that in the end we don't end up like Fitzgerald, who modeled his character Amory after himself. Let us hope that we don't follow in the path of Amory and are able to regain our aspirations when things improve, otherwise we might drown our hopelessness in bottles of alcohol until it kills us just like the famed U.S. author that wrote this book.

I remember my first experience reading it, back in 11th grade. It is not really the best book for high schoolers, but perhaps in that suburban milieu of doctors' kids and dissolving marriages, it was a good choice. Another reason I wanted to read it was that a Fitzgerald biography said this was pretty much FSF's take on his own, deeply troubled, marriage.

The book begins from the point of view of an innocent - Rosemary Hoyt, an American movie star (this was the 1920s) visiting some people on the Cote d'Azur, at a fictitious place on the shore between Cannes and St. Tropez. She quickly falls for an older man, an American doctor named Dick Diver who is married to a beautiful, and very rich, woman named Nicole. On the surface, everything is beautiful, glamorous, luxurious, and rich. But below there is trouble - quarrels, drunkenness, crazy behavior, homosexuality, and other ills. Rosemary doesn't see it though, and with the stubbornness of a beautiful, naïve girl, she goes after Dick. He resists, but begins to fall in love with her. There is a cast of supporting characters such as Abe North, a wacky drunk, and Tommy Barban, a hotheaded young Frenchman with a military career behind him. '

Rosemary is drawn in, as the reader is, and as the wealthy but mentally disturbed Nicole Warren was. Dick radiates calm, knowledge, success, strength, and joie de vivre. As the story turns to the Divers' marital history, the impressions alter, and the book becomes the tale of Dick's undoing. Diver was a young, hardworking, Yale educated doctor at a clinic in Switzerland. A young, but seriously troubled (probably schizophrenic, as Zelda Fitzgerald was, although this word is not used) gets the hots for him, and against everyone's advice, Dick marries her. She has a mindlessly arrogant rich girl sister, named Baby, who is portrayed superbly. Dick and Nicole have a couple of kids and some good times, but he is as much her medical caretaker as he is her husband, and it starts to wear him down. Things start unravelling. The whole book has a tragic, downward trajectory, a feeling of impending misery that no amount of sunlight and good wine and comfortable surroundings can dispel. '

The book is a downer, but it is a fascinating one, with moments of brilliant writing. Fitzgerald can string words together and juxtapose them with sparkle and casual elegance. The characters' conversations are real and believable, as are the depictions of gay people (ahead of its time, I should think) and the playful rich. It is a very good novel, and deserves to be remembered even if it is not the icon that The Great Gatsby is. No doubt there is some satisfaction in watching the Divers crumble, those people that had every advantage imaginable, but it is still a sad read, and the product of a great artist who was in a great deal of trouble.

As soon as I finished this book, I was ready to start all over and read it again. F. Scott Fitzgerald fills This Side of Paradise with his signature lyricism and beautiful phrasing, and combines it here with autobiographical elements and deep introspection. I love the maturity and wisdom with which Fitzgerald reflects on his own life through the story of Amory Blaine, and how it follows Blaine in times of extreme good and bad fortune, making it much more relatable than a standard tale that follows a hero's journey. I feel it is very descriptive and indicative of the time at which it was written, and I appreciate the way you can pick up on the overall feeling of the time without that explanation even being the focus of the story, which I believe is a nod to Fitzgerald's skill. Overall, I would highly recommend reading this book, ideally multiple times, so you can be sure to pick up on each layer of meaning and the motivation and thought behind each word. The story is one of much more than it might initially appear, and it goes much beyond just the life of Amory Blaine, delving into the pitfalls and feelings of the time period and of growing up in general. Readers can certainly draw parallels from this novel, relate them to their own lives, and even learn a little about how to approach their lives. I certainly did.

The first 40 pages is dull. So is the middle 100 pages. The ending is probably one of the most unsatisfying endings I've ever read as it ends not with not a bang but a sad whimper in diminuendo as if the author just didn't want to work on it anymore and dashed off a coda.

Fitzgerald's lyricism, in my opinion, is simply overrated. Granted, there are some breathtaking passages (which I took note of), but most of the writing was just dull, dull, dull. He would've benefited tremendously from studying storytelling as well since he makes the middle portion so deadly dull that it made me want to chuck it across the room, and butchers the last portion so badly that it came across as amateurish - choppy, rushed, and consequently ungraceful - which gives credence to his own remark about the book: "I would give anything if I hadn't had to write Part III of Tender Is the Night entirely on stimulant..."

He also makes tons of basic storytelling faux pas, such as redundant attributions (e.g. "I think so, too," he agreed), unnecessary and dull passages that add practically nothing to the story, a whole section (the middle section, more specifically from p.114 to 207) where we follow the main characters wander around without any specific objective except to kill time, and the last part that's haphazardly and painfully put together. The result is a very uneven book with deep pits of absolute boredom.

Didn't really like it

F. Scott Fitzgerald's second-highest regarded novel reveals the psyche of its tortured author. As a reading experience, it draws interest from the character of that author, equal parts eloquence and self-loathing. But it lacks the easy engagement and storycraft of Fitzgerald's other fiction.

Published in 1934, nine years after Fitzgerald's prior novel "The Great Gatsby" (and the only other novel after "Gatsby" Fitzgerald lived to complete), "Tender Is The Night" centers around a young, handsome couple who live as wealthy American expatriates on France's Mediterranean coast. Dick Diver is practical but somewhat frustrated, a situation exacerbated by the arrival of ingénue film actress Rosemary Hoyt. Encouraged by her mother, Rosemary takes a fancy to Dick and decides to lose her virginity to him. Dick's wife Nicole senses something is brewing, but her husband's fidelity is far from the only issue on her very full plate.

Two psychoanalytic profiles dominate this book. The first, of Nicole Diver, is shallow and unconvincing. The other, of the author himself, is far more engaging, if more a matter of connecting the dots between Fitzgerald and Dick than what the text itself affords. Dick, we come to learn, is a man of great potential, a leader in his chosen field who chooses to exile himself at the height of his success. As the book goes on, Dick descends deeper into alcohol and social-outcast status. While his profession is psychoanalysis, he is often found late in the novel working on a giant manuscript he never seems able to finish. The Fitzgerald parallels are obvious and will fascinate admirers.

But the novel feels thin at its core. I don't think I could put it any better than the title of Michael G.'s review from July 2011 - "Slender Is The Plot." Divided in three sections, each primarily seen through the lens of a different person - first Rosemary, then Dick, then Nicole - "Tender" is a lot of to-ing and fro-ing about the continent, with people giving random voice to their concerns in the Age of Anxiety in-between squabbles and trysts. The characters seem more like narrative constructs than real people. Dick, for example, goes from solid citizen in the early and middle section (a large part of which is a flashback to an earlier period in his life) to dangerous drunk for no better reason it seems than a girl he pines for. Jimmy Buffett knew better than to lean on that excuse too hard, but it forms the spine of our story.

Fitzgerald seems more self-indulgent here, both in his writing (a lot of description gets troweled upon incidents of little or no importance to the larger story, like a visit to a World War I battlefield or the drunken antics of a doomed friend) and in what he writes about, with Dick reduced on account of allowing himself to be used by both his wife and his would-be mistress. It's not his fault he's so damn sexy! The drinking issue comes up as an afterthought, as if Fitzgerald felt lost without employing his trademark malady. But Dick's issues, like Nicole's, never seem very real. Neither, at their heart, do Dick and Nicole, however much they are being used here as stand-ins for Fitzgerald and his famously troubled wife Zelda.

What I enjoyed about "Tender Is The Night" is the wonderful sense of place one gets, right from the beginning when we see the coast of France from a hotel "and its bright tan prayer rug of a beach." Fitzgerald overloads on the adjectives and adverbs, it seems more than usual for him, but his amazing craft carries this off to solid and sometimes spectacular effect. There are a hundred perfect sentences buried in this book, sometimes attached to killer paragraphs: "In the dead white hours in Zurich staring into a stranger's pantry across the upshine of a street-lamp, he used to think that he wanted to be good, he wanted to be kind, he wanted to be brave and wise, but it was all pretty difficult. He wanted to be loved, too, if he could fit it in."

Reading prose like that made me hungry for the deeper experience of other Fitzgerald works, not only the impossibly perfect "Gatsby" but "The Beautiful And Damned," which like "Tender" is focused on a couple's travails within a social set but of a more engaging, visceral, humorously-alive kind. The problem with Fitzgerald is he's a good writer here, but looking rather lost in comparison to his younger self.

I and most of my contemporaries were smitten by novels even before we first encountered F. Scott Fitzgerald in our adolescence. And then most of those among us who didn't already adore good fiction became lifelong addicts when they first read The Great Gatsby or Tender is the Night. (The few remaining holdouts were those unlucky enough to have been cursed in their cradles by the Wicked Fairy VG -- the awful VIDEO GAMES, killer of brain cells and mistress of illiteracy). Why then the ensuing years of skimming Fitzgerald's books when we saw new editions and not feeling the thrill of our first encounter with the work? Had we just been deceived in the first place, perhaps by our youthful naivete? I was beginning to think that that was what had happened until I saw this edition -- and realized what an enormous difference a presentation can make. This quite wonderful new edition of Tender is the Night restored all the thrill of the first encounter. Buy this one, and you will perhaps recapture (as I did) that first fine careless rapture. And that sent me to the same source's edition of The Great Gatsby, which (I am happy to say) also thrilled me afresh and reminded me what a wonderful book can do. Buy both, and hope for more.

Scott Fitzgerald paints a perfect picture of how life and romance was around WWI. This Side of Paradise follows Amory Blaine. He’s described as handsome, very very intelligent but lazy when it comes to school, and he’s also born into his mother’s (Beatrice Blaine) wealth. He gets accepted into Princeton, and towards the end of his college days WWI begins and Amory enlists ditching his degree. His mother dies and oddly leaves him no money.  When he returns to America to mourn his mother, he falls in love with and gets engaged too Rosalind Connage, a debutante. However, because Amory is poor Rosalind called off the engagement. After that horrific heartache he drinks a lot and probably would’ve kept drinking if it wasn’t for the Prohibition. After the summer ends he walks back to Princeton and basically sums up the whole book in one sentence “I know myself but that is all-” (Fitzgerald p 261)
Overall, is you love romance and history this is the book for you. The Romance isn’t too heavy and neither his the history aspect. Fitzgerald has an amazing way of making a book based in a time so long ago relatable. “I want to go to Princeton,” said Amory. “I don’t know why, but I think of all Harvard men as sissies, like I used to be, and all Yale men as wearing big blue sweaters and smoking pipes.” (Fitzgerald p.24) We’ve all been in a situation where we’re trying to find a place where we’ll belong and Fitzgerald really captured Amory’s want to be someone different than what he was but still be him. I really think this book as something for everyone, and I would highly recommend this book.

Fitzgerald's first novel, This Side of Paradise was given a tentative thumbs-down by the literati of the day, most not understanding what Fitzgerald was trying to accomplish. And even today it's not a particularly easy read. From the standpoint of early twenty-first century, though, the book seems a precursor to postmodern literature, with its disjointed narrative, its social and political references, and above all, its overwhelming self-awareness. The book has been called a critique of humanity's attraction to glamour, but that hardly seems the complete story.
Amory Blaine is a well-to-do, bratty WASP - egoistic, handsome, with a glib mouth. Underlying all this is an insecurity that begins to show its teeth during Amory's Princeton days, as his mum dies and leaves him with nothing of value. He turns to girls for succor, but he quickly discovers, in the way of early twentieth-century life in the U.S., that his looks, his disarming way, have little truck without a serious jingle in his pocket.
So Amory enters into a series of promising but ultimately unfulfilling romances, joins the army during World War I, and returns to life as a menial ad copy writer. His conscience during this time is a Catholic priest, Thayer Darcy, who has had a dalliance with Amory's mum in days past. But Amory can't be corralled by faith and religion. He does, though, offer to sacrifice himself before the law in order to save a friend's reputation. Still, even this turns to spoiled milk.
In the book's final pages, Fitzgerald offers a clumsy, summarizing motif: Amory is given a ride by two well-off, conservative men, and they enter into an argument concerning what today would be Milton Friedman's capitalism versus socialism. I was stunned as I read these pages - how appropriate that argument seems to today's bare-knuckled conflicts over the same ideological ground!

Fitzgerald's writing here is brilliant in places, but his structure seems of the ad hoc variety. As with the argument mentioned above, many of the book's themes and situations are handled clumsily or are dropped unfinished as the author moves on to other ideas. At its basis it's a bildungsroman. But there's also Amory's fall from grace, which establishes his reinvention, something that was a religio-literary staple of the day. In the end, Fitzgerald leaves Amory disillusioned but hopeful. In the final paragraphs, Amory sums up thusly:

"It's all a poor substitute at best," he said sadly.
And he could not tell why the struggle was worth while, why he had determined to use to the utmost himself and his heritage from the personalities he had passed....
He stretched out his arms to the crystalline, radiant sky.
"I know myself," he cried, "but that is all."
Still, that 's a start, as this supremely talented writer began a slow, awkward climb toward a never-achieved literary perfection.

The only Fitzgerald I had ever read was GATSBY. After seeing the new film version, I decided I'd like to read some more Fitzgerald. THIS SIDE OF PARADISE had been on my list for a long time. I have to confess that I was a little disappointed. It's a coming-of-age story set in the World War I era about a spoiled rich boy who goes to Princeton. It contains some keen observations on the lives of the American rich during that period that made it worth reading for me, but as a novel, is clumsily written and appears to have been cobbled together from several works set in the same milieu. The seams show. But as a sociological document I think it's quite valuable. I certainly wouldn't regard this as essential reading, but if one already has in interest in Fitzgerald, this is not a waste of time.

This particular edition is beautifully designed. Even if you have no intention of reading it, the gorgeous art-deco styled cover makes a splendid prop for the interior decorator trying to project an image of glamor and sophistication.

One of the best works of American literature ever, "Tender is the Night" is often overlooked due to the popularity of Fitzgerald's more well known work, "The Great Gatsby." In my opinion, great works of American literature simultaneously capture the time in which they are set, and perfectly arc these struggles and triumphs to wider, common themes. Somewhat reflective of his own life, Tender tells the story of a psychiatrist who pulls a reverse Florence Nightingale and falls for one his is patients before she's truly better. The resultant relationship is less than perfect, but he struggles with duty to his vows, and the longings of his heart when a new interest- scandalous in her own way- makes her way on his scene.

As always, reading Fitzgerald is like watching an author make slow, passionate love to the dictionary. He's brilliant with words, but not hifalutin like many of his contemporaries. What he tells is a captivating bittersweet tale of confusions and conflict, set against a beautiful backdrop of pain, joy and strife.

I was very disappointed by F. Scott Fitzgerald’s famous novel. I found the story tedious and the characters tiresome. Reading through to the end was a chore. I wanted to throw the book in the trashcan.

There are many problems. At the top of the list is Fitzgerald’s main character, a psychiatrist named Dick Diver who marries one of his own patients. I found this unrealistic, like many other facets of the story. It certainly did not endear me to the protagonist. As a reader I had no sympathy for Diver, a obstacle which the author might easily have avoided by casting the story differently. Nor was I convinced by Diver’s psychiatric practice.

An author should write about what he knows. Fitzgerald obviously was writing about his wife’s mental issues which he knew very well. Fine. But his knowledge of the field of psychiatry and/or clinical psychology was not deep enough to bring off the story in a credible manner. A fictional story must be realistic to be believable.

The grander setting is the Parisian Lost Generation of the 1920s, the theme of people leading vacuous lives of quiet desperation, much the same as the backdrop for Hemingway’s The Sun Also Rises. However, in my opinion Hemingway did a more convincing job in his great novel, in part because he kept the proper distance from his characters. There are times in Tender in the Night when Fitzgerald interjects pearls of supposed wisdom, puts words in the mouths of his characters that clearly reflect his own views about the world, how things are, life, the nature of women, etc. So much better to let the lost souls be what they are, lost, and leave it at that. Distance.

Tender is the Night was written over a decade, and it shows. Characters grow, stop, we fast forward, and they change and mature without transition. Tempting is the correlations between Fitzgerald's companionship with mentally unhinged Zelda and Dick Diver's nurturing husband/psychotherapist to Nicole, an heiress and ex-schizoid in occasional relapse who was traumatized by her father at a tender age.
Tender is Dick's caressing but scientific approach to loving Nicole. When Rosemary Hoyt, a young starlet-to-be, pursues Dick with all due diligence, Dick loses the cool stability of his marriage experiment for the exciting, verily unscientific, if affected, opportunity to feel something new. Having committed himself to Nicole's love and care despite his better reason, Dick lives with the consequences he signed on to live with. His wife, recovering from her deep, despairing mental illness, sucks the life out of Dick, gaining strength with each drop of vigor he loses, fully aware of his inevitable failure.
Tender is the Night, where Fitzgerald starts to show the influence of Hollywood (not incidental, the Rosemary character, ey?) on his narrative composition, feels like a cast of actors playing their roles with converse dramatic irony. Nicole's and Dick's anticipation of the paths they are on, curves, divergences and all, perhaps account for the absence of dramatic tension and suspense in Tender is the Night. It is, instead, a journal of selected scenes catching the moods and musings of a doomed marriage, often striking poignancy at a perfect pitch.

I wonder why this was so unpopular, as reflected by sales after its first publication. It's a tragic depressive book, true, but then so were 'The Great Gatsby' and 'The Beautiful and Damned'. It features the same bright and beautiful people who, through fatal flaws in their characters, fall through the cracks and never clamber up. This is the only one of the novels, though, that focuses on Americans out of America - rich expatriates in Europe. It's rather Hemingway-ish, except that of course instead of bull-fighting and big-game-hunting they go to beaches and do a lot of shopping. :)
It is true, however, that this book is generally darker and grimmer than the others. The others started off with hope and excitement and wonder. Except for the first section, this is not the case here. Even when we view events through Rosemary's eyes, we are always aware and disturbed that things are not as they seem and people are falling apart. The prose is more muted, too - less of the lovingly lyrical imagery of TBAD, fewer descriptions of the wealth and opulence of TGG. There is a sense of concealed decay throughout this novel.
This has a lot of disturbing undercurrents under its bright and polished surface. The events of the novel, in fact, reflect the characters of Dick and Nicole Diver themselves (Nicole more obviously, with her schizophrenia). Perhaps there isn't the same sense of optimism and idealism that one senses from the protagonists in the other books - Amory Blaine in 'This Side of Paradise'; Anthony Patch and Gloria Gilbert in TBAD; Jay Gatsby, however deluded he is in his case, in TGG; even what's-his-name? in The Love of the Last Tycoon. The first fifth of the book shows Dick and Nicole young, but henceforth they are tired and jaded and struggling desperately to keep up appearances. Rosemary Hoyt is likeable when she first appears, but by the last two sections she is hopelessly corrupted as well. The characters all seem particularly depraved; or perhaps amoral. This is clearly exhibited through their adultery. Yet Anthony Patch had an affair as well; and Jay Gatsby was intent on breaking up a secure marriage.
Another aspect of it might have to do with the fall. Anthony and Gloria were played out by fate. He was the heir to a large fortune and he lost it due to a moment's folly. His error was constructed on a foundation of weakness and ignorance, true, but circumstances play a part. For Gatsby, one can't possibly blame him for not doing enough - if anything, it was that his vision was flawed in the first place and so whatever he did couldn't possibly have achieved him his desire. The reader feels sympathy for him. Yet Dick and Nicole don't have that luxury of blaming things on fate. They have money, they have attainable dreams, they have beauty and power. They foul it all up with no help from anyone else. To a certain extent the reader recoils from such characters.
Fitzgerald appears to have pinned Dick's fall on his need for approval, attention and affection - which fits quite well. It would explain why he married Nicole, who needed him so badly; why he chased after other women, to ascertain to himself that he was still attractive and desirable. Nicole is tougher. I get the impression Fitzgerald uses her schizophrenia as a cover for a lot of things, a one-size-fits-all explanation. Why is she like that? Oh, she's crazy. Why did she do that? Oh, she's crazy.
So what have we looked at? Theme - grimmer, but similar to other books. Characters - less likeable perhaps, but overall still similar. Setting - I can't see that it makes much of a difference. Timing plays a part too, of course. This book came out in the aftermath of the Great Depression, after the Jazz Age had blown past. People didn't want to be reminded of the glitzy parties of a past they couldn't return to; they were focused on hard work, picking up the pieces, moving forward in a steadier saner world. Poor Fitzgerald - he couldn't have helped that, after all.

Despite its sombre tone, I really enjoyed reading Fitzgerald's Tender is the Night. At first, it appears that the novel will follow Rosemary Hoyt, a young American actress traveling abroad with her mother. Rosemary meets Dick and Nicole Diver, a young, affluent couple, on a beach in France, during her travels. She soon finds herself falling in love with Mr. Diver.

From there, however, the story takes an abrupt turn. We learn the history of the Diver couple. Dick is a psychoanalytic doctor, and his relationship with Nicole began as a clinical one. An impossibly rich young girl from America, she'd been committed to a mental facility in Europe after a disastrous turn in her relationship with her father. Dick happens upon her one day in the facility grounds, and the two begin talking and writing to one another. Later, Dick almost seems compelled to marry her in order to fully cure her of her illness.

At any rate, the remainder of the tale primarily follows Dick and Nicole (with brief re-appearances by Rosemary) as their marriage evolves and eventually disintegrates. It is a sad tale, indeed, and it definitely smacks of Fitzgerald's fascinations with social power and money. It also sadly rings with autobiographical elements in Fitzgerald's later life - adultery, mental illness, the feeling of failed potential.

The new movie with Leonardo di Caprio is very close to the the plot of the book; the book lives of the used language though. Phrases like something is "quivering on the horizon" instead of "about to happen" are making this a great book of the English language. Furthermore the destructive character of Gatsby's love is clearer reading the book than watching the movie. That said if you want to know what the book is about just watch the movie. If you love elaborate sentences and some more depth of the characters then read the book.

The quality of the book itself is typical Easton Press standard and makes a great addition to any bookshelf.

This Side of Paradise is a paean to that special period in a young man's life when he forges the principles, flirts with his talents, find and loses love.
Fitzgerald's story is a bit more convoluted as he nurtures his hero from strangeness of childhood (a Portrait of the American Artist, to some extent), through the vanity of teens, through the confusion of college. He captures some of the ubiquitous sensations of being a college student - of the effervescent but ephemeral experience that feels like it will last forever; of friendships, and the general experimentation of finding and losing.
The book is also notable for a protofeminist (albeit from a male perspective) subtext that seems to play out in the background. When women enter into Emory Blaine's Life, it is as if the narrator yields the floor to the object of his affections so that she can write her own part, and by providing differentiation and individuation for the female characters, Fitzgerald validates them as living, breathing, self-willing entities.
By its end, This Side of Paradise seems like an incomplete story whose only outcome is melancholy. It is the gateway to FSF's biggest works, as the pathos of graduation from college leads to our most consequential decisions and ambitious acttions. Yet something is missing - the carefree, unadulterated moments of certainty that we will do something great, that the world is great, and that anything is possible as long as we don't attempt it.

"Tender is the Night" is obviously a more complex novel than "The Great Gatsby" and more difficult to read. I picked this book up twice. The first time I gave up after reading only half. The second time I got bogged down then hopped onto the store.com to read the customer reviews. Here someone wrote that you should spend sufficient time with the novel and read it with careful concentration. That was good advice indeed, because the novel then rolled along and became a pleasure to read once I gave it sufficient attention.
The first part of the novel is a little annoying. The unmarried Rosemary pursues the married Dick Diver with complicity from her mother. Why would her mother encourage her daughter to get involved with a married man? That part I found frustrating.
I was also confused as to what motivated Dick to marry Nicole. Some characters in the novel said it was money. One reviewer here at the store.com, whose opinion seems learned, says he did so out of pity for her schizophrenic state. The novel circles back from the beaches of Cannes and streets of Paris to the mountain hospital where the two characters first met. At first I found myself backing up and rereading parts of this because the change in venue was so abrupt that it left me somewhat lost. It was a major shift from the breezy momentum of the early chapters. But this part of the novel is where the real drama in the story begins to unfold. So it was a necessary detour.
Other reviewers have noted that this novel varies in style from Fitzgerald's other novels. I read "The Great Gatsby" for the second time in one sitting. That novel is more lyrical and rolls along more easily than this one. There are certain sentences here in "Tender is the Night" that I wondered how they escaped the careful editing of Maxwell Perkins (editor at Charles Scriber and Sons).
Finally fans of Fitzgerald who long to read about rich American expatriates living in Europe will find plenty to entertain them here. The scenery is the beaches of Cannes, the streets of Paris, and the spas of France. Nicole and Dick Divers go from one gathering of glitterati to the next. Fitzgerald drops you squarely into the lives of the idle rich as he did in "The Great Gatsby". But here he also reveals a lot about their miseries and heir drunkenness. Maybe that is the chief difference between the two novels (if you ignore that crimes in Gatsby).

After finishing this book I was reminded of a beautiful grand house - if you take it in its entirety, you can't help but admire it. Within, there may be some rooms that leave something to be desired, but the overall effect is breathtaking. So it is with this book. Fitzgerald manages to write a story about a relationship that manages to be acerbicand tender at the same time. Like the other traditional inheritor of the `Great American Novelist' title, Hemmingway. Fitzgerald combines a genius for writing wonderful character insights with great `background painting' - some of his descriptions of settings are truly masterpieces. Even the `extras' - they don't have anything to do with the story so it is hard to call them characters - get wonderfully drawn descriptions. I feel that this book truly captures its age and place.
And the added bonus - this is a wonderful insight into a relationship built on the worst of foundations slowly but surely heading to its end, told to us from various viewpoints. I don't know much about Fitzgerald's life, but if this is semi-autobiographical as literary critics say, you have to feel sorry for all that were involved in the real life events. Dick and Nicole are really caricatures of the Americans of their generation that lived the high life in Europe, and yet could never quite put their finger on what is was that they were actually meant to be doing.

This Side Of Paradise is absolutely one of the finest pieces of literature of its time. I liked it better than Fitzgerald's most popular classic The Great Gatsby. And I think J.D. Salinger was influenced by this novel when he wrote The Catcher In The Rye because there are so many parallels that it just seems obvious. I always laugh when I see or hear people listing their favorite novel is The Catcher In The Rye because I thought This Side Of Paradise was so similar but way better and written decades before. Amory Blaine is an interesting character and I enjoyed every minute of this book. It's been probably 20+ years since I read it but I remember not being able to put it down. The same for one of my other favorite novels, East Of Eden by John Steinbeck. Anyway, if you are a fan of Salinger, then give this novel a chance- it's so worth it!

F. Scott Fitzgerald is an author that represents the 20s in the US, this period where everything was crazy and rich before the Great Depression. This novel is the story of a love affair and of a career, that of Doctor Dick Diver. He is promised to a bright future as a psychiatric doctor. He marries one of the richest heiresses of America who was a patient first of all and became his wife. This love affair is described in the smallest and tiniest details. But Dick Diver comes to the point where he needs to distanciate himself from this ex-neurotic if not schizophrenic wife who was raped by her own father. Dick Diver is also extremely sollicited by many women because he is handsome and charming. He has a short-lived affair with a young Hollywood actress, Rosemary. But his wife Nicole is absolutely dependent on her love for him and cannot survive without his love.
The story leads us among the circles of rich Americans and English people who mostly roams the highlighted areas of Europe, spending the money they have and that is always more than they can spend. But a breaking point builds up slowly and explodes sometime in 1927-28. He gets more and more aloof as for his job, if not frankly sloppy and finally gets out of it due to alcoholism. He gets also more and more distant from Nicole. But the real breaking point is when Nicole conquers her freedom through a liaison with another man. Then the end is inevitable : divorce and going back to America to have a general practitioner's office in the state of New York.
But the book is a lot more interesting than just this picture. It shows how the very rich are living a complete dream life with caprices, good manners and civility, but no touch with the real world and how they get so far from the real world that they have to develop some kind of a screen to be protected from the fall this distance may represent : alcoholism, an artificial lifestyle and environment, spending as a daily occupation. This is in full contradiction with working to earn a living, which Dick Diver is always doing and a collapse is always at hand and it finally happens. One cannot live the contradiction between a real professional life and an artificial lifestyle. What's more interesting is that the fall comes from this very artificial lifestyle. Alcoholism is a coping strategy that dooms a professional life. Good manners and nicely controled love affairs are also in contradiction with a family life (the doctor has two children) and a professional life. So one day it has to break.
Thus the night of the title has many meanings : the nightlife of this detached society, the shadow of all the little affairs and liaisons that remain unrealised or hardly realised, the night of the movie theater since the cinema is always in the background, the night of the end of a love affair, a passion, the night of a lost career. And Doctor Dick Diver submits to this gentle slope going down slowly, to this coming night as if it were a liberation from the obligations of this artificial life. He goes back to reality and gets lost in the night of the unknown, unknown at least for the members of this artificial society of over-rich kids who never grow up. Finally it is a style in the book : every detail is always draped in some kind of shadow, in some kind of night that helps any contradiction and evolution to exist and to survive any kind of crisis.

Perhaps the most remarkable thing about this book is the freshness of its language: except for a few slang words used in speech, the prose is so cutting and modern that it reads like a recent creation.
Much of the discussion surrounding this book has to do with its semi-autobiographical nature, at least to the extent the Divers' marriage and Dick's personal unraveling mirrors the effect Zelda's mental illness had on Fitzgerald. Yet knowing too much about the parallels between a writer's life and his work can be distracting, and this is a good enough story to stand on its own without recourse to voyeurism. Fitzgerald shows the effects of insanity on a marriage and on its (initially) stronger member, but is discreetly circumspect as regards his inner feelings. We can see Dick working to create a sphere of normalcy around Nicole, yet his motivation is not entirely clear. In fact, Dick Diver is ultimately the least fully explored of the bunch: we never really learn what makes Dick tick. Why does he have this compulsion to make himself liked, to briefly be the life of the party then move on before his charm wears thin? In this behavior Dick displays a restless sociopathy worthy of a Bret Easton Ellis character - which also, again, proves the essential freshness of this novel written a lifetime ago.

Other reviewers and critiques have pointed to Fitzgerald�s criticism of the Catholic church and his frustration with capitalism in �This Side of Paradise�. Yet there is another poignant theme�Fitzgerald�s frustration with women�that will resonate deeply with men who are currently dating.
Amory, the main character in the novel who is, of course, Fitzgerald himself, complains that women are quick to jettison real love for a man with real money. Moreover, he complains of those glittering beauties, their callousness toward men, and the heartbreak they cause.
Of one character he writes �She is one of those girls who never make the slightest effort to have men fall in love with them. Two types seldom do: dull men are usually afraid of her cleverness�intellectual men are usually afraid of her beauty.�
The same character is said to ��[she] treats men terribly. She abuses them and cuts them and breaks dates with them and yawns in their faces---and they come back for more�. Of course, as a male reader we know both of these ideas to be absolutely true of so many girls and men�s behavior too.
Writing of his broken relationships and his failure to find a proper muse, Fitzgerland writes �Women�of whom he had expected so much; whose beauty he had hoped to transmute into modes of art; whose unfathomable instincts...were all removed by their very beauty, around which men swarmed, from the possibility of contributing anything but a sick heart and a page of puzzled words to write.� The emotional upheaval from broken relations could be the cause of much writer�s block.
The careful reader need not walk away from this lyric prose a misogynist. Rather Fitzgerald�s first novel can be considered a primer on dating for the college-aged man or the divorcee recently reentering the dating market.

In “Tender Is the Night,” Fitzgerald provides us with a harsh look at human nature and relationships through the lives of three unforgettable characters. The story is told from these three different characters, the Divers, Dick and Nicole and Rosemary. The story shifts between the three persons to slowly reveal the surreal relationship between Dick and Nicole and their sad lives. “Tender Is the Night” is less dramatic and much slower than “The Great Gatsby,” but eventually much more satisfying. The characters are more alive, realistic and some scenes are truly haunting. It’s a sobering, harsh and disturbing look at human nature along with the downfall of a man into despair.

Like everything Fitzgerald wrote this has that burnished by the morning sun feel to it. Certainly there are real themes in it that make this a substantial first novel but the lasting appeal is that romanticism that Fitzgerald himself seemed to have created with his own hands. Forged in that prep school fire though that romanticism isn't made of the toughest stuff and perhaps since Scott never really had any difficulties along the way to becoming a young succesful novelist he was never really forced to become more than that, a young success. His great theme is romance itself, he brings it to everything from football to war to young ladies to writing, he just has the gift to touch and make golden. Not many people will be immune to the contagion of such a disease. Amory is the perfect name for this amourous and ardent young east coaster, a character who was immediately embraced with the publication of this book as the spokesmen for the new up and coming generation, not yet named the lost generation. This book was full of promise and that feeling was infectious and equally attractive was the rather free libertine approach to sex. With Fitzgerald the twenties were born. Amory's affairs are just that, his romances mere flirtations, but he has the ability to make all seem of utter importance because all outcomes effect the state of our heros grace. An egotist, yes! But at that age, college age, what else is there to be. His egotism fuels his romantic ideas about life, and the fire builds and builds slow and burns as bright as life can burn in youth.....at least on this side of paradise.

Written when F. Scott was a mere 23 years of age, This Side of Paradise elevates itself as a seminal and ground-breaking semi-autobiographical novel that inexplicably remains vastly underappreciated as of today. Amory Blaine manifests himself as a veritable study of egotism, romanticism, idealism, and intense disillusionment. Amory proves to be an endearing and highly affable young protagonist. The prep school and Princeton years of supercilious and pretentious egotist hedonism abound immensely in energy, innocence, and vitality.
Through the despair of his failed love with Rosalind et al, his disenchantment with his advertsing job, and the inseparable gloom and despair of WWI, Amory enters into a reproachful state of disillusionment and cynicism subsequent to "The Great War". Fitzgerald, the acclaimed golden boy of his aptly named Jazz Age, emodies in Amory "a new generation grown up to find all Gods dead, all wars fought, all faiths in man shaken."
Amory undergoes a catharsis of sorts in purging his tragic loss of innocence due to the war with his heavy drinking and nihilistic behavior. Nonetheless, he regains a semblance of his former confidence and intensity at the conclusion of the book, "yet the waters of disillusion had left a deposit on his soul." Is Amory the same romantic egotist that we witnessed at the onset of this powerful work? Not by any stretch of the imagination. However, through his despondent adversity, his intellectualism survives as well as his somewhat frayed, yet repaired sense of hopeful idealisism for the future - whatever it may bring. A strikingly similar ending to Hemingway's later masterpiece The Sun Also Rises, n'est-ce pas?

This is a brilliant work that many categorize in the "male coming of age" genre. It is correctly placed there and is on par with, if not better than, "Great Expectations." This novel shows the zest of a young writer already in greatness on his way to perfection. The radical structure of this novel shows the creativity and non-conformity that Fitzgerald set as the mode for the modern day contemporary novel. His incorporation of poetry, music, and, and then sudden shift to play-writing, in his prose, to get his point across are brilliant in his execution of "showing rather than telling."
Amory (wordplay on amorous) is looking for truth and sense in his life. He seeks it in intellectual pursuits, riotous living, and love. Love is what makes him most vulnerable.
His general liking for the arts rather than the sciences mirror the ambitions of so many young males, males who would be reading this novel. He can't dwell in what is known or scientifically documented, his heart lies in the arts and history: the former a place an outlet to seek truth and the latter a point of reference by which he categorizes himself. He believes love to be something tangible like the music he hears, the poetry he reads and writes, but love is chaos. He makes lists to categorize and make sense of elements of the social world around him, but life (especially in the shift from adolesence to young-adulthood) and people are so incongruent that none of it is able to be categorized. The use of the shift to play-writing is not used gratuitously. Amory believes that life and love fall into place once one is done with school and sets out for the world. He is acting/living out a love story in the real world, but nothing in life is structured like the story line to a dramatic romance.
Fitzgerald's narrative is a lyrical, yet chaotic whirlwind, it perfectly coincides with the life of a person coming into adulthood during a time of drastic social change and the disillusionment from the atrocities of The Great War.
The last quarter of the novel shows the roots of what would grow to Fitzgerald's literary perfection. Reading the ending to this book keeps the reader in a state of awe.
There is a beautiful array of one-liners gracing the pages during Amory's conversation with the Goggled Man and his partner. Everyone I discuss this novel with has a favorite line or two from this section. The words that have been turning over in my mind ever since the first time I read this novel are:
"'I'm restless. My whole generation is restless. I'm sick of a system where the richest man gets the most beautiful girl if he wants her, where the artist without an income has to sell his talents to a button manufacturer.'"
The last line of the book is a lesson in itself. Fitzgerald entertains the reader from the soft and subtle beginning, to the chaotic yet, settling end:
"I know myself," he cried, "but that is all."
After all the people he had come in contact with during his journey for truth and love, and all the low and high points that Amory has had, he feels his efforts were worthwhile, but doesn't know why.
Mapping life is a futile effort. Mapping and knowing yourself is an amazing feat in and of itself that few achieve. And knowing yourself is "all," everything that you would ever need to know in life...
This novel is a must read for all young men. ENTER THE LABYRINTH.

I had mixed feelings about Tender is the Night by F. Scott Fitzgerald. I enjoyed reading about the romance between Nicole and Dick, and then between Rosemary and Dick, and I found that I cared deeply for the characters. I was involved in their lives and felt concern and sorrow for them. Despite these aspects which I enjoyed, there was much of the novel which I felt to be irrelevant and uninteresting. I didn't understand the significance of the story of Abe North's difficulty with the law, the problems between the Divers and a remarried Mary North, and the arrest of Mary North and Lady Sibly-Biers. I was also disappointed in the way Fitzgerald chose to resolve the story. Dick was my favorite character throughout the novel but it seemed in the end that he was sucked dry by Nicole, used and abandoned by Rosemary, and made an outcast by all his friends. I felt that Tender is the Night was weak in terms of historical content. There was little discussion of World War I and the novel didn't create a clear picture of its aftermath. I also had a mixed reaction with regard to Fitzgerald's style of writing. His description was interesting and creative but I was often confused as to the character speaking, the passage of time, and the exact aspects of an event. I finished the novel uncertain about whether or not events had actually occurred and not completely understanding the motivation behind much of the story. Overall I found Tender is the Night to be entertaining to read but at times difficult to understand.

When I read this novel, I felt as if everything else I'd ever read was garbage. This is because Scott Fitzgerald had a way with words that was beyond compare. I would stop myself and reread pages because I couldn't believe that what I'd just read was so beautifully written. I never do this with novels! Beyond that, this is an incredible story involving breaking a taboo that has a frightful attraction rate. Dick Driver is a psychiatrist. Nicole is his wealthy, beautiful, younger patient.

This is not a story about Dick's abusing Nicole as her therapist. Dick saves Nicole and marries her even though he is warned by his own mentor that such a relationship never works. It becomes quite clear as the story continues to unfold that Dick is the one paying an exorbitant price from his marrying Nicole whereas Nicole is thriving. The alcohol and parties among the jet set abound as they usually do in a Fitzgerald novel, set in the 1920s. By all means read this novel. I can guarantee that you will hold onto it for the rest of your life.

Visit my blog with link given on my profile page here or use this phonetically given URL (livingasseniors dot blogspot dot com). Friday's entry will always be weekend entertainment recs from my 5 star the store reviews in film, tv, books and music. These are very heavy on buried treasures and hidden gems. My blogspot is published on Monday, Wednesday & Friday.

The renowned success of The Great Gatsby (also an exceptional book) often overshadows the brilliance of Tender is the Night. The later being Fitzgerald's semi-autobiographical masterpiece that gives the reader a glimpse into the writer's frame of mind and personal struggles. "Tender" is a true testament to the author's talent and arguably is his most important literary effort.
Dick Diver is a young psychiatrist; a follower of Freud and Jung who is working his way up in the field of mental health medicine. He is intelligent, handsome, altruistic, and an overachiever. Dick falls in love and marries the beautiful, wealthy Nicole Warren who also happens to be his patient. Dick and Nicole start out living the high life. They travel to exotic locations and mingle with aristocrats. All the while Dick establishes a successful private practice with the help of Nicole's money and becomes a well-respected and sought-after physician. But soon the happy front the Diver's display to the world crumbles. Nicole's mental problems begin to resurface and Dick becomes involved with a young Hollywood starlet. These events trigger a domino of disappointments and downfalls.
Anyone who has studied F. Scott Fitzgerald the man will no doubt see that Tender is the Night mirrors his own life with his wife Zelda. Fitzgerald, a perfectionist in his own career worked tirelessly to establish himself. Meanwhile, he and Zelda traveled the globe, attended parties, consumed alcohol, lived extravagantly, and carelessly spent all their money before Zelda slipped into insanity leaving Scott to pick up the scattered pieces of his broken life. The character of Dick Diver grows to become cynical and is left feeling he is a failure. Sadly, six years after the publication of this book, Fitzgerald himself died prematurely believing he was a failure and destined for literary obscurity.
It would be impossible for me to do justice in describing the splendor of Fitzgerald's prose. His passages are emotionally sweeping and his words strum along as rhythmically as fine music. If you have time for only one book this year, make a wise choice and consider Tender is the Night.

It's an enormous comfort to find that the 24 year old Fitzgerald did not produce a perfect novel. It's not as comforting to know that the 29 year old Fitzgerald did. Ah well, the Beatles were done being the Beatles before they were 30.

This book is no pleasure to read unless you're interested in seeing FSF develop, and this is his start. This is an interesting lens on Gatsby and reveals some of the more subtle techniques by being used crudely here. The primary similarity is the use of satire in the real old Satyricon sense. In both novels, there's a devoted attempt to meticulously record his surrounding in order to hold their trappings up to ridicule.

The problem with This Side of Paradise is that it's a bildungsroman and a fairly autobiographical one at that. The self-criticism and self-knowledge that is necessary to declare one's own quest for adulthood as absurd isn't available to one immediately upon entering it (See Stephen in Ulysses for a successful version - decades older). That's sort of the problem with the whole work. F keeps falling in and out of admiration for Amory, and consequently, Amory is never a reliable lens on his world. It's kind of a wreck.

This book made Maxwell Perkins's career at Scribner, and so TSOP could be said to have been crucial to the development of Hemingway, Wolfe, et al. What made Perkins think that this was so revolutionary? Perhaps some was scandalous - She's been kissed many times! - it's not so shocking now. Perhaps it showed a world not seen before, St. Paul's, Princeton. Perhaps he was the first voice of a generation. Maybe Perkins just had an unbelievable eye for talent. The evidence is there if you look hard enough. It's up to the duly warned potential reader to decide whether they want to.

However, as an inspiration to young writers out there. Get going. Write a bad book. Write another bad book. Then write a great one.

I missed this one back in college, where I became enamoured of much more sophisticated writers (Joyce and Hemingway, though some here may question this characterization of Hemingway at least). Indeed, I had liked THE GREAT GATSBY back then but was not overly fond of the Fitzgerald opus of short stories so, on balance, I never felt motivated to read any further into his works. And yet I recently found a copy of this one so, having a little time on my hands, set out to read it. At first it was slow going and very dated in its feel. Hard to relate to the early twentieth century upper class snobbery which seems to suffuse the book and, indeed, Fitzgerald's very sensibility. Hard, too, to relate to a bunch of sophomoric college boys roaming the streets, arm in arm, singing silly little college songs and angling to outshine one another by securing a better reputation among their peers and better connections with the "in groups." And yet, perhaps it was just a simpler time for, in truth, people are not entirely unlike that today though they are, I think, less transparent about it and more sophisticated in their areas of concern. Nevertheless, once past the first superficial ramblings of this book, I began to get sucked into the mind and world of Amory Blaine (presumably the alter ego of Fitzgerald himself). Although he remained a rather superficial and tiresome personality to the end, he was also an interesting soul and one whose travails, such as they were, could and did draw a reader in. I found Blaine's coming of age tale oddly enlightening, if only because I began to see the world as it was, roughly a hundred years ago, in a sharper, almost first-hand perspective. Blaine grows a bit though he never outgrows his essential self-absorption. But the loss of family and friends and lovers take their toll on his psyche and the Blaine we have at the end of the tale is a wiser and bigger boy than the one at the beginning. I think, in general, our serious writers in the twentieth century forgot about telling stories or creating worlds in favor of word-play and self-revelation and that this has done literature no service. Fitzgerald certainly was among those who took writing in that direction. But he sure could write and the fact that the very thin and sophomoric tale of Blaine's coming of age could hold me at the dawn of the twenty-first century is testimony to that. There are better and stronger books out there and some I much prefer. But the man could write. -- SWM

Few would argue against including "This Side of Paradise" on the required reading list for students of American fiction. It's F. Scott Fitzgerald's first novel, which provides both a taste of how great Fitzgerald would become as an iconic American writer, and also an autobiographical glimpse into his life at the turn of the century. The protagonist of the story is Amory Blaine, an aspiring young writer who comes of age at Princeton during the First World War. Amory struggles to find his place among his peers and within society. The story flows very smoothly, but with a few fits and starts during the middle chapters.

It's clear that Fitzgerald also struggled to complete this book. Satisfying himself didn't come easily, nor was it easy for him to satisfy his editors. The end result is very readable and highly enjoyable. The play which appears mid-way through the novel is a little strange, but it doesn't take away from the development of the plot.

I also recommend reading the book's preface for its interesting analysis of Fitzgerald's early years, and its discussion of the book's background and genesis.

I've been intending to read this book for a long time, having a memory of what was probably a 1980s BBC TV adaptation of it and having seen a play about the life of Zelda Fitzgerald on the Edinburgh Fringe in the '90s. Finally I got around to it...

It's impossible for me to comment meaningfully on 'Tender is the Night' without giving away the plot. Obviously it's a very well-written, literary work but about half-way through I had issues with the respect in which the narrative feels very much like masculine self-indulgence, what with Rosemary's abiding obsession with Dick and the incest that we are informed to have been the root of Nicole's mental disturbance being glossed over so glibly.

However, my feelings changed later on. I think the truly great human observation that Fitzgerald makes in this book is that when Dick & Rosemary's relationship is finally consummated, the mutual attraction is instantly killed off and the incident spells the beginning of the personal and professional demise of Dick.

Furthermore, the facts that the novel ends with Nicole herself straying into an adulterous relationship and a final shift towards a focus on her feelings about her marriage to Dick and her own life and identity, redeemed the story from being one seemingly intended to bolster male egos.

It's easy to lose sight of just how long ago 'Tender is the Night' was written because it tackles the question of the viability of monogamy in such a head-on, modern way. So I would recommend it, not only as a literary work of beauty that evokes the long-lost 'Jazz Age' but also and moreover as a book that examines the fundamental and perpetuating question of the nature of romantic love and the value we place upon it.

Francis Scott Fitzgerald gives here a masterpiece. The building of the conscience of a young American man is explored in the finest and most intricate details through his training in a prep school and at Princeton. His influences from all kinds of writers and poets are also examined in the way they interlace one another into a very subtle and complex whole.

This leads that young man to the experience of the First World War and what follows and he moves from what could be considered as a pose to a more conscious state of mind in which the social reality of his time becomes pregnant with meaning.

That leads him to a socialist stand coming from his dissatisfaction with the establishment that does not propose reforms and change but is self-satisfied in its achievements.

The second level of the novel is the sentimental pilgrimage that the hero follows from the sheer discovery of love play to the deepest passion that leads nowhere and is finally identified by him as nothing but a negation of his self in the titillation of his egotism.

Love is nothing but a mirror of himself and there is none of the two-way altruism that builds real love as a dual-carriageway of emotions and personal involvement.

Hence he moves from a pure egotistic personality to something that is identified as a personage that is able to take into account the outside world as a living being of itself.

The final element of interest in this book is the way Catholicism is an inspiration on that road and that his final starting point as an altruistic socialist is nothing but the development of Christian love that does not exist if the other is not one's equal, no matter where this other stands in the social order.

Dr Jacques COULARDEAU

F. Scott Fitzgerald's novels are a one trick pony in the sense that he writes about the same time period (the 1920's), the same kind of people (rich or successful Americans) and protagonists who suffer the same fate (men whose ultimate failures are the result of their own shortcomings and the influence of women). His works are also highly autobiographical. Thus to read Fitzgerald with understanding one should start at the beginning (This Side of Paradise), move to the full bloom of his talent (The Great Gatsby) and culminate at the end (Tender is the Night). It would help to read a good biography along the way. The other option is to just read Gatsby which is one of the finest American novels ever written.

This Side of Paradise is his first novel and here we see both the promise of the character, Amory Blaine, and the author. On the very first page of the novel Fitzgerald displays his talent for words in his description of Amory's mother: "All in all Beatrice O'Hara absorbed the sort of education that will be quite impossible ever again; a tutelage measured by the number of things and people one could be contemptuous of and charming about; a culture rich in all the arts and traditions barren of all ideas in the last of those days when the great gardener clipped the inferior roses to produce one perfect bud." This lengthy sentence, despite its seeming awkwardness, tells us all we need to know about Beatrice and suggests that the son will share the same qualities. Other examples of Fitzgerald's facility with words follow. On page 45 he describes Isabelle thusly: "She paused at the top of the staircase. The sensations attributed to divers on springboards, leading ladies on opening nights, and lumpy, husky young men on the day of the Big Game, crowded through her. She should have descended to a burst of drums or a discordant blend of themes from `Thais' and `Carmen.' She had never been so curious about her appearance, she had never been so satisfied with it. She has been sixteen years old for six months." And on page 47 is Isabelle's description of Amory: "she had expected him to be dark and of garter-advertisement slenderness." Only Fitzgerald could come up with such vivid and evocative descriptions.

One fault of the book is that it is too episodic without clear transitions. First Amory is a child, then a student at Princeton, then a soldier (although we really do not see this part of this life and it seems to have not affected him), then a lover of Rosalind, then at loose ends, then has a relationship with Eleanor, then the book ends with Amory alone in the world and spouting socialist maxims. It is hard to picture this individual, who for 200 pages has been totally absorbed with himself, suddenly developing a social conscience!

Another problem I have is that Fitzgerald tries too hard to show his education. The book is full of poetry and literary references. It is written much as a college student would write a paper to try to impress the professor and thus get a high grade, rather than in a manner that is appropriate to the telling of a story. Fitzgerald is, of course, at this point in his life not far removed from Princeton and perhaps is still writing as a college student.

In the end, then, we should read This Side of Paradise for the beauty of the language and not be overly concerned with the story line and characters.

I was very disappointed by F. Scott Fitzgerald’s famous novel. I found the story tedious and the characters tiresome. Reading through to the end was a chore. I wanted to throw the book in the trashcan.

There are many problems. At the top of the list is Fitzgerald’s main character, a psychiatrist named Dick Diver who marries one of his own patients. I found this unrealistic, like many other facets of the story. It certainly did not endear me to the protagonist. As a reader I had no sympathy for Diver, a obstacle which the author might easily have avoided by casting the story differently. Nor was I convinced by Diver’s psychiatric practice.

An author should write about what he knows. Fitzgerald obviously was writing about his wife’s mental issues which he knew very well. Fine. But his knowledge of the field of psychiatry and/or clinical psychology was not deep enough to bring off the story in a credible manner. A fictional story must be realistic to be believable.

The grander setting is the Parisian Lost Generation of the 1920s, the theme of people leading vacuous lives of quiet desperation, much the same as the backdrop for Hemingway’s The Sun Also Rises. However, in my opinion Hemingway did a more convincing job in his great novel, in part because he kept the proper distance from his characters. There are times in Tender in the Night when Fitzgerald interjects pearls of supposed wisdom, puts words in the mouths of his characters that clearly reflect his own views about the world, how things are, life, the nature of women, etc. So much better to let the lost souls be what they are, lost, and leave it at that. Distance.

Tender is the Night was written over a decade, and it shows. Characters grow, stop, we fast forward, and they change and mature without transition. Tempting is the correlations between Fitzgerald's companionship with mentally unhinged Zelda and Dick Diver's nurturing husband/psychotherapist to Nicole, an heiress and ex-schizoid in occasional relapse who was traumatized by her father at a tender age.
Tender is Dick's caressing but scientific approach to loving Nicole. When Rosemary Hoyt, a young starlet-to-be, pursues Dick with all due diligence, Dick loses the cool stability of his marriage experiment for the exciting, verily unscientific, if affected, opportunity to feel something new. Having committed himself to Nicole's love and care despite his better reason, Dick lives with the consequences he signed on to live with. His wife, recovering from her deep, despairing mental illness, sucks the life out of Dick, gaining strength with each drop of vigor he loses, fully aware of his inevitable failure.
Tender is the Night, where Fitzgerald starts to show the influence of Hollywood (not incidental, the Rosemary character, ey?) on his narrative composition, feels like a cast of actors playing their roles with converse dramatic irony. Nicole's and Dick's anticipation of the paths they are on, curves, divergences and all, perhaps account for the absence of dramatic tension and suspense in Tender is the Night. It is, instead, a journal of selected scenes catching the moods and musings of a doomed marriage, often striking poignancy at a perfect pitch.

I wonder why this was so unpopular, as reflected by sales after its first publication. It's a tragic depressive book, true, but then so were 'The Great Gatsby' and 'The Beautiful and Damned'. It features the same bright and beautiful people who, through fatal flaws in their characters, fall through the cracks and never clamber up. This is the only one of the novels, though, that focuses on Americans out of America - rich expatriates in Europe. It's rather Hemingway-ish, except that of course instead of bull-fighting and big-game-hunting they go to beaches and do a lot of shopping. :)
It is true, however, that this book is generally darker and grimmer than the others. The others started off with hope and excitement and wonder. Except for the first section, this is not the case here. Even when we view events through Rosemary's eyes, we are always aware and disturbed that things are not as they seem and people are falling apart. The prose is more muted, too - less of the lovingly lyrical imagery of TBAD, fewer descriptions of the wealth and opulence of TGG. There is a sense of concealed decay throughout this novel.
This has a lot of disturbing undercurrents under its bright and polished surface. The events of the novel, in fact, reflect the characters of Dick and Nicole Diver themselves (Nicole more obviously, with her schizophrenia). Perhaps there isn't the same sense of optimism and idealism that one senses from the protagonists in the other books - Amory Blaine in 'This Side of Paradise'; Anthony Patch and Gloria Gilbert in TBAD; Jay Gatsby, however deluded he is in his case, in TGG; even what's-his-name? in The Love of the Last Tycoon. The first fifth of the book shows Dick and Nicole young, but henceforth they are tired and jaded and struggling desperately to keep up appearances. Rosemary Hoyt is likeable when she first appears, but by the last two sections she is hopelessly corrupted as well. The characters all seem particularly depraved; or perhaps amoral. This is clearly exhibited through their adultery. Yet Anthony Patch had an affair as well; and Jay Gatsby was intent on breaking up a secure marriage.
Another aspect of it might have to do with the fall. Anthony and Gloria were played out by fate. He was the heir to a large fortune and he lost it due to a moment's folly. His error was constructed on a foundation of weakness and ignorance, true, but circumstances play a part. For Gatsby, one can't possibly blame him for not doing enough - if anything, it was that his vision was flawed in the first place and so whatever he did couldn't possibly have achieved him his desire. The reader feels sympathy for him. Yet Dick and Nicole don't have that luxury of blaming things on fate. They have money, they have attainable dreams, they have beauty and power. They foul it all up with no help from anyone else. To a certain extent the reader recoils from such characters.
Fitzgerald appears to have pinned Dick's fall on his need for approval, attention and affection - which fits quite well. It would explain why he married Nicole, who needed him so badly; why he chased after other women, to ascertain to himself that he was still attractive and desirable. Nicole is tougher. I get the impression Fitzgerald uses her schizophrenia as a cover for a lot of things, a one-size-fits-all explanation. Why is she like that? Oh, she's crazy. Why did she do that? Oh, she's crazy.
So what have we looked at? Theme - grimmer, but similar to other books. Characters - less likeable perhaps, but overall still similar. Setting - I can't see that it makes much of a difference. Timing plays a part too, of course. This book came out in the aftermath of the Great Depression, after the Jazz Age had blown past. People didn't want to be reminded of the glitzy parties of a past they couldn't return to; they were focused on hard work, picking up the pieces, moving forward in a steadier saner world. Poor Fitzgerald - he couldn't have helped that, after all.

Despite its sombre tone, I really enjoyed reading Fitzgerald's Tender is the Night. At first, it appears that the novel will follow Rosemary Hoyt, a young American actress traveling abroad with her mother. Rosemary meets Dick and Nicole Diver, a young, affluent couple, on a beach in France, during her travels. She soon finds herself falling in love with Mr. Diver.

From there, however, the story takes an abrupt turn. We learn the history of the Diver couple. Dick is a psychoanalytic doctor, and his relationship with Nicole began as a clinical one. An impossibly rich young girl from America, she'd been committed to a mental facility in Europe after a disastrous turn in her relationship with her father. Dick happens upon her one day in the facility grounds, and the two begin talking and writing to one another. Later, Dick almost seems compelled to marry her in order to fully cure her of her illness.

At any rate, the remainder of the tale primarily follows Dick and Nicole (with brief re-appearances by Rosemary) as their marriage evolves and eventually disintegrates. It is a sad tale, indeed, and it definitely smacks of Fitzgerald's fascinations with social power and money. It also sadly rings with autobiographical elements in Fitzgerald's later life - adultery, mental illness, the feeling of failed potential.

The new movie with Leonardo di Caprio is very close to the the plot of the book; the book lives of the used language though. Phrases like something is "quivering on the horizon" instead of "about to happen" are making this a great book of the English language. Furthermore the destructive character of Gatsby's love is clearer reading the book than watching the movie. That said if you want to know what the book is about just watch the movie. If you love elaborate sentences and some more depth of the characters then read the book.

The quality of the book itself is typical Easton Press standard and makes a great addition to any bookshelf.

This Side of Paradise is a paean to that special period in a young man's life when he forges the principles, flirts with his talents, find and loses love.
Fitzgerald's story is a bit more convoluted as he nurtures his hero from strangeness of childhood (a Portrait of the American Artist, to some extent), through the vanity of teens, through the confusion of college. He captures some of the ubiquitous sensations of being a college student - of the effervescent but ephemeral experience that feels like it will last forever; of friendships, and the general experimentation of finding and losing.
The book is also notable for a protofeminist (albeit from a male perspective) subtext that seems to play out in the background. When women enter into Emory Blaine's Life, it is as if the narrator yields the floor to the object of his affections so that she can write her own part, and by providing differentiation and individuation for the female characters, Fitzgerald validates them as living, breathing, self-willing entities.
By its end, This Side of Paradise seems like an incomplete story whose only outcome is melancholy. It is the gateway to FSF's biggest works, as the pathos of graduation from college leads to our most consequential decisions and ambitious acttions. Yet something is missing - the carefree, unadulterated moments of certainty that we will do something great, that the world is great, and that anything is possible as long as we don't attempt it.

"Tender is the Night" is obviously a more complex novel than "The Great Gatsby" and more difficult to read. I picked this book up twice. The first time I gave up after reading only half. The second time I got bogged down then hopped onto the store.com to read the customer reviews. Here someone wrote that you should spend sufficient time with the novel and read it with careful concentration. That was good advice indeed, because the novel then rolled along and became a pleasure to read once I gave it sufficient attention.
The first part of the novel is a little annoying. The unmarried Rosemary pursues the married Dick Diver with complicity from her mother. Why would her mother encourage her daughter to get involved with a married man? That part I found frustrating.
I was also confused as to what motivated Dick to marry Nicole. Some characters in the novel said it was money. One reviewer here at the store.com, whose opinion seems learned, says he did so out of pity for her schizophrenic state. The novel circles back from the beaches of Cannes and streets of Paris to the mountain hospital where the two characters first met. At first I found myself backing up and rereading parts of this because the change in venue was so abrupt that it left me somewhat lost. It was a major shift from the breezy momentum of the early chapters. But this part of the novel is where the real drama in the story begins to unfold. So it was a necessary detour.
Other reviewers have noted that this novel varies in style from Fitzgerald's other novels. I read "The Great Gatsby" for the second time in one sitting. That novel is more lyrical and rolls along more easily than this one. There are certain sentences here in "Tender is the Night" that I wondered how they escaped the careful editing of Maxwell Perkins (editor at Charles Scriber and Sons).
Finally fans of Fitzgerald who long to read about rich American expatriates living in Europe will find plenty to entertain them here. The scenery is the beaches of Cannes, the streets of Paris, and the spas of France. Nicole and Dick Divers go from one gathering of glitterati to the next. Fitzgerald drops you squarely into the lives of the idle rich as he did in "The Great Gatsby". But here he also reveals a lot about their miseries and heir drunkenness. Maybe that is the chief difference between the two novels (if you ignore that crimes in Gatsby).

After finishing this book I was reminded of a beautiful grand house - if you take it in its entirety, you can't help but admire it. Within, there may be some rooms that leave something to be desired, but the overall effect is breathtaking. So it is with this book. Fitzgerald manages to write a story about a relationship that manages to be acerbicand tender at the same time. Like the other traditional inheritor of the `Great American Novelist' title, Hemmingway. Fitzgerald combines a genius for writing wonderful character insights with great `background painting' - some of his descriptions of settings are truly masterpieces. Even the `extras' - they don't have anything to do with the story so it is hard to call them characters - get wonderfully drawn descriptions. I feel that this book truly captures its age and place.
And the added bonus - this is a wonderful insight into a relationship built on the worst of foundations slowly but surely heading to its end, told to us from various viewpoints. I don't know much about Fitzgerald's life, but if this is semi-autobiographical as literary critics say, you have to feel sorry for all that were involved in the real life events. Dick and Nicole are really caricatures of the Americans of their generation that lived the high life in Europe, and yet could never quite put their finger on what is was that they were actually meant to be doing.

This Side Of Paradise is absolutely one of the finest pieces of literature of its time. I liked it better than Fitzgerald's most popular classic The Great Gatsby. And I think J.D. Salinger was influenced by this novel when he wrote The Catcher In The Rye because there are so many parallels that it just seems obvious. I always laugh when I see or hear people listing their favorite novel is The Catcher In The Rye because I thought This Side Of Paradise was so similar but way better and written decades before. Amory Blaine is an interesting character and I enjoyed every minute of this book. It's been probably 20+ years since I read it but I remember not being able to put it down. The same for one of my other favorite novels, East Of Eden by John Steinbeck. Anyway, if you are a fan of Salinger, then give this novel a chance- it's so worth it!

F. Scott Fitzgerald is an author that represents the 20s in the US, this period where everything was crazy and rich before the Great Depression. This novel is the story of a love affair and of a career, that of Doctor Dick Diver. He is promised to a bright future as a psychiatric doctor. He marries one of the richest heiresses of America who was a patient first of all and became his wife. This love affair is described in the smallest and tiniest details. But Dick Diver comes to the point where he needs to distanciate himself from this ex-neurotic if not schizophrenic wife who was raped by her own father. Dick Diver is also extremely sollicited by many women because he is handsome and charming. He has a short-lived affair with a young Hollywood actress, Rosemary. But his wife Nicole is absolutely dependent on her love for him and cannot survive without his love.
The story leads us among the circles of rich Americans and English people who mostly roams the highlighted areas of Europe, spending the money they have and that is always more than they can spend. But a breaking point builds up slowly and explodes sometime in 1927-28. He gets more and more aloof as for his job, if not frankly sloppy and finally gets out of it due to alcoholism. He gets also more and more distant from Nicole. But the real breaking point is when Nicole conquers her freedom through a liaison with another man. Then the end is inevitable : divorce and going back to America to have a general practitioner's office in the state of New York.
But the book is a lot more interesting than just this picture. It shows how the very rich are living a complete dream life with caprices, good manners and civility, but no touch with the real world and how they get so far from the real world that they have to develop some kind of a screen to be protected from the fall this distance may represent : alcoholism, an artificial lifestyle and environment, spending as a daily occupation. This is in full contradiction with working to earn a living, which Dick Diver is always doing and a collapse is always at hand and it finally happens. One cannot live the contradiction between a real professional life and an artificial lifestyle. What's more interesting is that the fall comes from this very artificial lifestyle. Alcoholism is a coping strategy that dooms a professional life. Good manners and nicely controled love affairs are also in contradiction with a family life (the doctor has two children) and a professional life. So one day it has to break.
Thus the night of the title has many meanings : the nightlife of this detached society, the shadow of all the little affairs and liaisons that remain unrealised or hardly realised, the night of the movie theater since the cinema is always in the background, the night of the end of a love affair, a passion, the night of a lost career. And Doctor Dick Diver submits to this gentle slope going down slowly, to this coming night as if it were a liberation from the obligations of this artificial life. He goes back to reality and gets lost in the night of the unknown, unknown at least for the members of this artificial society of over-rich kids who never grow up. Finally it is a style in the book : every detail is always draped in some kind of shadow, in some kind of night that helps any contradiction and evolution to exist and to survive any kind of crisis.

Perhaps the most remarkable thing about this book is the freshness of its language: except for a few slang words used in speech, the prose is so cutting and modern that it reads like a recent creation.
Much of the discussion surrounding this book has to do with its semi-autobiographical nature, at least to the extent the Divers' marriage and Dick's personal unraveling mirrors the effect Zelda's mental illness had on Fitzgerald. Yet knowing too much about the parallels between a writer's life and his work can be distracting, and this is a good enough story to stand on its own without recourse to voyeurism. Fitzgerald shows the effects of insanity on a marriage and on its (initially) stronger member, but is discreetly circumspect as regards his inner feelings. We can see Dick working to create a sphere of normalcy around Nicole, yet his motivation is not entirely clear. In fact, Dick Diver is ultimately the least fully explored of the bunch: we never really learn what makes Dick tick. Why does he have this compulsion to make himself liked, to briefly be the life of the party then move on before his charm wears thin? In this behavior Dick displays a restless sociopathy worthy of a Bret Easton Ellis character - which also, again, proves the essential freshness of this novel written a lifetime ago.

Other reviewers and critiques have pointed to Fitzgerald�s criticism of the Catholic church and his frustration with capitalism in �This Side of Paradise�. Yet there is another poignant theme�Fitzgerald�s frustration with women�that will resonate deeply with men who are currently dating.
Amory, the main character in the novel who is, of course, Fitzgerald himself, complains that women are quick to jettison real love for a man with real money. Moreover, he complains of those glittering beauties, their callousness toward men, and the heartbreak they cause.
Of one character he writes �She is one of those girls who never make the slightest effort to have men fall in love with them. Two types seldom do: dull men are usually afraid of her cleverness�intellectual men are usually afraid of her beauty.�
The same character is said to ��[she] treats men terribly. She abuses them and cuts them and breaks dates with them and yawns in their faces---and they come back for more�. Of course, as a male reader we know both of these ideas to be absolutely true of so many girls and men�s behavior too.
Writing of his broken relationships and his failure to find a proper muse, Fitzgerland writes �Women�of whom he had expected so much; whose beauty he had hoped to transmute into modes of art; whose unfathomable instincts...were all removed by their very beauty, around which men swarmed, from the possibility of contributing anything but a sick heart and a page of puzzled words to write.� The emotional upheaval from broken relations could be the cause of much writer�s block.
The careful reader need not walk away from this lyric prose a misogynist. Rather Fitzgerald�s first novel can be considered a primer on dating for the college-aged man or the divorcee recently reentering the dating market.

In “Tender Is the Night,” Fitzgerald provides us with a harsh look at human nature and relationships through the lives of three unforgettable characters. The story is told from these three different characters, the Divers, Dick and Nicole and Rosemary. The story shifts between the three persons to slowly reveal the surreal relationship between Dick and Nicole and their sad lives. “Tender Is the Night” is less dramatic and much slower than “The Great Gatsby,” but eventually much more satisfying. The characters are more alive, realistic and some scenes are truly haunting. It’s a sobering, harsh and disturbing look at human nature along with the downfall of a man into despair.

Like everything Fitzgerald wrote this has that burnished by the morning sun feel to it. Certainly there are real themes in it that make this a substantial first novel but the lasting appeal is that romanticism that Fitzgerald himself seemed to have created with his own hands. Forged in that prep school fire though that romanticism isn't made of the toughest stuff and perhaps since Scott never really had any difficulties along the way to becoming a young succesful novelist he was never really forced to become more than that, a young success. His great theme is romance itself, he brings it to everything from football to war to young ladies to writing, he just has the gift to touch and make golden. Not many people will be immune to the contagion of such a disease. Amory is the perfect name for this amourous and ardent young east coaster, a character who was immediately embraced with the publication of this book as the spokesmen for the new up and coming generation, not yet named the lost generation. This book was full of promise and that feeling was infectious and equally attractive was the rather free libertine approach to sex. With Fitzgerald the twenties were born. Amory's affairs are just that, his romances mere flirtations, but he has the ability to make all seem of utter importance because all outcomes effect the state of our heros grace. An egotist, yes! But at that age, college age, what else is there to be. His egotism fuels his romantic ideas about life, and the fire builds and builds slow and burns as bright as life can burn in youth.....at least on this side of paradise.

Written when F. Scott was a mere 23 years of age, This Side of Paradise elevates itself as a seminal and ground-breaking semi-autobiographical novel that inexplicably remains vastly underappreciated as of today. Amory Blaine manifests himself as a veritable study of egotism, romanticism, idealism, and intense disillusionment. Amory proves to be an endearing and highly affable young protagonist. The prep school and Princeton years of supercilious and pretentious egotist hedonism abound immensely in energy, innocence, and vitality.
Through the despair of his failed love with Rosalind et al, his disenchantment with his advertsing job, and the inseparable gloom and despair of WWI, Amory enters into a reproachful state of disillusionment and cynicism subsequent to "The Great War". Fitzgerald, the acclaimed golden boy of his aptly named Jazz Age, emodies in Amory "a new generation grown up to find all Gods dead, all wars fought, all faiths in man shaken."
Amory undergoes a catharsis of sorts in purging his tragic loss of innocence due to the war with his heavy drinking and nihilistic behavior. Nonetheless, he regains a semblance of his former confidence and intensity at the conclusion of the book, "yet the waters of disillusion had left a deposit on his soul." Is Amory the same romantic egotist that we witnessed at the onset of this powerful work? Not by any stretch of the imagination. However, through his despondent adversity, his intellectualism survives as well as his somewhat frayed, yet repaired sense of hopeful idealisism for the future - whatever it may bring. A strikingly similar ending to Hemingway's later masterpiece The Sun Also Rises, n'est-ce pas?