Honestly, what a dreadfully boring book this is!

Poorly written in several aspects, it seems as if Fitzgerald couldn't make up his mind on how he desired to present himself as an author. At times, it is written in prose, only to then abruptly disappear into poetry, and then meander off into the structure of a drama.

The characters are highly irritating, completely unrealistic, and have an absurdly high opinion of themselves. The final chapter has little or no connection to the rest of the book and reads more like a manifesto rather than anything else.

There was truly no real purpose in reading this book, and I am extremely unsure how it managed to be regarded as a classic.

If I were to summarize the story, it would be along the lines of: "Woe is me. I was born with every conceivable advantage and squandered it all away, and it's all your fault."

This was Fitzgerald's first novel, and it holds great significance.

It not only marks the beginning of his literary journey but also presages his budding introspective genius.

The novel is filled with his unique style and profound insights.

Although his monologues are somewhat long, they are still fascinating, delving deep into the meaning of life.

Fitzgerald's ability to explore the human psyche and the complexities of existence through his words is truly remarkable.

His first novel serves as a testament to his talent and sets the stage for the great works that are to come.

It is a captivating read that leaves the reader pondering the deeper questions of life and the human experience.

This Side of Paradise (1920) is the remarkable debut novel by F. Scott Fitzgerald, whom I affectionately renamed 'Hottie Mc Scottie'. (#sorrynotsorry) The book delves deep into the lives and moralities of post-World War I youth. Its protagonist, Amory Blaine, an alluring Princeton University student, endeavors to define his identity both within and apart from his generation, known as 'the lost generation'.

Like many debut novels, This Side of Paradise is highly autobiographical. It was penned during the summer of 1919, amid Scottie and Zelda's tumultuous on-and-off relationship. After less than a year of courtship, Zelda Sayre broke up with the 22-year-old Scottie. Following a summer of heavy drinking, he returned to St. Paul, Minnesota, where his family resided, to complete the novel, hoping that if he achieved success as a novelist, he could win Zelda back. This reveals a great deal about Scottie's personality, showing his vulnerability yet also his core belief that money and success could change everything. It's also significant to note that Scottie was aware Zelda would likely read this novel, and I would argue that his portrayal of the character Rosalind, whom I believe was based on Zelda, was influenced by this fact. Her portrayal is bittersweet, almost manic-pixie-dream-girl-like, and quite favorable, making her the girl who leaves the most profound impact on our main protagonist, his epitome of beauty.
In the fall of 1919, Scottie submitted the manuscript to an editor at Charles Scribner's Sons in New York. The book was险些 rejected but was ultimately accepted after further editing. Scottie pleaded for an early publication (*coughs* because his desire for Zelda was intense), but was informed he would have to wait until spring. Nevertheless, upon the acceptance of his novel for publication, he visited Zelda, and they resumed their courtship. With his success impending, she agreed to marry him (which says a lot about her morality too). I must admit, I'm not a huge fan of their relationship; it seems rather destructive to me, but it's something I would need to research more before forming a valid opinion.
Hottie Mc Scottie is renowned as the embodiment of the modern American writer. The era of American high modernism was one of intense self-invention, and Scottie was prominent among those who crafted a self-created image of 'the author' that was conveyed through his life and work. Even decades later, we're all somewhat familiar with Gatsby, the knowledge that Scottie was a troubled alcoholic who died at the age of 45.
His first novel exhibits many characteristics of the Bildungsroman, the novel of moral and psychological growth. This Side of Paradise is significant not only as a portrayal of a young man's initiation into life and a chronicle of a generation but also as the place where Scottie established his identity as an author. As an authorial initiation, the novel foreshadows the concerns of his major works: the pursuit of identity, the exploration of modern sexuality, and the assessment of 'consciousness'.
Intended to typify the youth of a generation that would become 'lost' in the aftermath of World War I, Amory is in the process of rebelling against the old order as he experiments with philosophies his elders would deem radical and behaviors they would view as dissolute. The emergence of sexuality is a central issue, as Amory successively experiences and rejects various romances, including his disastrous relationship with the debutante Rosalind. And, of course, in the age of Prohibition, he drinks. ;)
Amory's problem lies in narcissism, and his 'education' in the novel involves both the formation of a 'personage' (unity of identity) and an encounter with that which lies outside the self. The novel is more about the formation rather than the complete composition of Amory's identity. Perhaps most importantly, Scottie wrote a conclusion to the novel that, in its final line, offers the possibility that the 'personage' of Amory Blaine, while still in the process of formation, has achieved some form of self-definition, precisely as a process. I highly appreciated this notion because growing up can be extremely frustrating, and I often feel the pressure to have reached certain milestones in my life by now, to have a firm grasp on who I am and who I want to become, but that's simply not the case. Life is a process, and things are constantly changing.
Amory Blaine is a nomadic figure, wandering from affair to affair, book to book, in search of both a relationship and a doctrine that will provide him with some access to'reality' in a time when the ground seems to be constantly shifting beneath him. After World War I and the collapse of the old world, a new age of uncertainty dawned, characterized by frantic speculation and activity. Scottie portrays adulthood as a labyrinthine world into which Amory is on the verge of entering. By giving a voice to both Amory and the world and people around him, Scottie portrays not only Amory's journey to identity within that generation but also the generation itself.
He attempts to capture the spirit of his time, to define this group of individuals in this specific period. In This Side of Paradise, he provides a fictional representation of a war generation identified, paradoxically, by its lack of identity, by the loss of direction and the sense that history and Western culture as they were then known were rapidly coming to an end. What the lost generation has lost - cultural identity - is intricately linked to the formation of a new national identity after 1918 and his own search for a form of writing that would underwrite his identity as an author.
Amory defines himself within the historical and social contexts of his generation: a middle-class Midwesterner transplanted to the aristocratic halls of Princeton (I can't tell you how excited I got every time Aaron Burr was mentioned...); a boy maturing during the upheaval of a world war, shuttling erratically between idealism and disillusion; a young man exploring sexuality. Yet the completion of his education and his achievement of the status of 'personage' is marked by his separation from both his childhood and 'generational' origins as he erases the past and attempts to begin anew at the point zero of disjointed self-knowledge: 'I know myself... but that is all.'
Similar disparities distinguish Fitzgerald's writing in a novel that repeatedly lists the authors and texts that persons of Amory's sensibility and generation read, as if Scottie wanted to construct for his readers the generational canon from which he proceeds. In its portrayal of Amory Blaine seeking identity within and apart from his generation, This Side of Paradise preserves the sense conveyed in this fragment of Scottie's own awareness as an author who is both reproducing the textual past and attempting to break away from it in generating a writing that is'modernistic'.
The novel is an uneven collection of anecdotes, aborted novelistic sequences, poems, one-act plays, passages from the author's letters and diaries, and variously integrated short stories and set scenes. It feels almost experimental at times, which I adored because it demonstrated that Scottie was still exploring new things and, above all, striving to break free from old (literary) conventions to become a true modern writer.
On the one hand, This Side of Paradise can astound with its brilliant writing style and the beauty of its language, but on the other hand, it is precisely that language that makes the novel seem superficial and its dialogue artificial at times. It is incredibly difficult to connect with any of the characters or to truly empathize with them because everything appears incredibly fake.
I would say that I read this at the perfect time in my life, being a student myself and still grappling to find my own identity and place in this world, and therefore I highly value Scottie's debut novel.

My Musings on This Side of Paradise:

To be honest, I'm truly at a loss as to where to commence this kind of review. I didn't have an intense love for this novel, not in the same way as I did for The Great Gatsby, but it is undoubtedly a unique one. It marks a remarkable beginning to F. Scott Fitzgerald's great writing career.

This was his first novel, and I can clearly understand why it received the acclaim it did. The theme of self-discovery is a commonly written-about topic, but in my experience, it is seldom presented from a boy/man's point of view. I'm not entirely sure why that is. I don't believe that women are inherently more reflective than men or anything as absurd as that. But for whatever reason, male self-discovery books are relatively rare.

I won't claim that I liked Amory Blaine because I didn't. He is disgustingly selfish and egotistical for much, if not all, of the novel. He predominantly views himself through the opinions of others, which is usually harmful. His sense of romance is actually rather disturbing. Additionally, he seems to create definitions for words or behaviors that often have little to do with their actual meanings.

That being said, despite the fact that the main character frustrated me greatly, I still enjoyed this novel. Fitzgerald's writing prompts a great deal of reflection and internal philosophical debate. Through Blaine, he delves into some interesting discussions that make you question the world and its nature in general. Anyone who can achieve that holds great value in my eyes.

Wow, what a remarkable tale of opulence and youthful angst! Let me elaborate further.

In this semi-autobiographical novel by Fitzgerald, the narrative chronicles the life of a young Amory Blaine, commencing from his teenage years and extending until his mid-twenties. It weaves together a story of young love, the inevitable loss of innocence, and tragic events, all masterfully compiled into one, admittedly elitist, work.

Fitzgerald's penchant for opulence is palpable throughout the text. His high-class upbringing is reflected in the main character, who at times can be dislikable due to his privileged background and somewhat entitled attitude. However, as the story progresses, we come to understand and ultimately grow to love Amory Blaine.

While I must admit that I found the ending rather abrupt and lacking in closure, the journey through Blaine's years was truly enjoyable. It provided me with a wonderful opportunity to escape into an entirely different era, one that was marked by extravagance and a certain charm. Overall, I would rate this novel 3.5 out of 5 stars.

Fitzgerald’s first novel, This Side of Paradise, takes the readers on a journey that follows Amory Blaine from his childhood all the way through to adulthood. As he traverses the various trials and tribulations of life, we get a front-row seat to his experiences.

Admittedly, there are parts of the novel that are a bit slow-paced, but overall, I thoroughly enjoyed reading about Amory. There was something about him that I found particularly endearing.

Interestingly, having read Fitzgerald’s early short stories first, I noticed that he had adapted several of his earliest short stories into parts of this novel. This was a fascinating aspect for me. Most notably, stories like Babes in the Woods, The Debutante, and Spires and Gargoyles had been incorporated. It was interesting to see how he had integrated these shorter works into the larger narrative of the novel, adding depth and texture to the story of Amory Blaine.

This connection between the short stories and the novel added an extra layer of complexity and interest to my reading experience, making This Side of Paradise a truly engaging and worthwhile read.

This was going to be a two-star until today.

When I reached the last sixty or so pages, it took me by surprise and improved the experience somewhat.

'The Great Gatsby' is one of my favourite novels. So, at first, I was greatly disappointed to find that I wasn't enjoying this one, Fitzgerald's debut, at all.

In spite of the odd snatches of beautiful writing, it felt aimless and cloggy.

I just wasn't interested in anything or anyone involved.

The introduction in my copy even refers to it as a "deeply flawed apprentice work".

So, I was relieved to find that it wasn't just me feeling confused by his early work.

But the greats have got to start somewhere, and I'm glad I've read it.

It gives me a better understanding of Fitzgerald's growth as a writer.

Although this book may not be as good as 'The Great Gatsby', it still has its own charm and value.

I look forward to reading more of his works and seeing how he developed over time.

This novel is a remarkable work that encompasses a multitude of elements.

It is a virtuoso’s exercise, delving into profound philosophical themes and offering interesting political observations. It is also a Bildungsroman, charting the growth and development of its characters. At times, it can be naïve and even a little boring, but these moments are outweighed by its many strengths.

Comparisons to The Great Gatsby are inevitable, but it is important to note that very few novels could withstand such a comparison. What is truly amazing is that the author wrote this at the tender age of 23.

In my opinion, Amery’s love for Rosalind is rather conventional and immature. However, I was completely charmed by Eleanor, a clear-thinking feminist with a touch of “Thelma and Louise”! The description of the social structure at Princeton was fascinating, as it highlights how little things have changed in the Ivies over the past 100 years.

All in all, this is a thought-provoking and sometimes lyrical read that defines an era and a tragic generation. It has not aged a bit and remains highly relevant today.

The book is filled with cool quotes that offer insights into the human condition. For example, “very few things matter and nothing matters very much” and “The idea, you know, is that the sentimental person thinks things will last—the romantic person has a desperate confidence that they won’t.”

One of the most powerful quotes comes from Eleanor, who laments, “Rotten, rotten old world, and the wretchedest thing of all is me—oh, why am I a girl? Why am I not a stupid—?” Her words capture the frustration and limitations faced by women in a patriarchal society.

Another memorable quote is, “That’s your panacea, isn’t it?” she cried. “Oh, you’re just an old hypocrite, too.” This exchange between Eleanor and Amery reveals the tension and conflict between their different worldviews.

The novel also contains beautiful passages of poetry, such as “Here, Earth-born, over the lilt of the water, Lisping its music and bearing a burden of light, Bosoming day as a laughing and radiant daughter...” These poems add a touch of elegance and beauty to the story.

Overall, this novel is a must-read for anyone interested in literature, history, or the human experience. It is a timeless classic that will continue to resonate with readers for generations to come.

Someone really needed to tell F. Scott Fitzgerald to put an end to writing poetry and incorporating it into this book as the work of his characters. You simply have to read it, after all, it's the great F. Scott Fitzgerald and you just don't skim through the man's work. But to be honest, this aspect was truly insufferable.

There were certain passages in this book that I absolutely adored, and parts that I just couldn't put down. However, overall, the work seemed rather uneven. The plot structure didn't really hold up. The entire focus of the book is simply on one character's development as a person from childhood to his mid-twenties, and that development isn't always entirely believable.

That being said, there was a great deal of playfulness in this book that made it enjoyable to read. Midway through, you suddenly come across three chapters that are written entirely in play format. Towards the end, you enter Amory Blaine's head with a series of questions and answers he's asking and answering for himself, followed by a page of stream of consciousness. These deviations, although abrupt, offer effective and fascinating glimpses into the characters' lives that traditional prose simply could not deliver.

Recommended kinda!

This Side of Paradise vividly portrays the plight of a pretentious man, from his childhood to the sunken sorrows of his young adulthood. Amory, an overly zealous academic, not only resembles Fitzgerald but also represents every student in America who takes himself too seriously. He endeavors to discover his identity in a nation that has already predefined what it means to be a "gentleman": becoming an Ivy-League student, getting drunk with friends, sleeping with girls, having a witty manner, and writing well.

However, even within this seemingly decadent world of success, Amory still grapples with finding himself and his happiness. It's so American.

Behind Amory's cynicism and dark wit lies a lost American boy who simply wants to find the truth, a desire that holds true for countless young adults. The book concludes without a definitive conclusion, which, paradoxically, becomes a conclusion in itself: life is a continuous struggle filled with uncertainties, disappointments, and failures, and perhaps the only way to find happiness is to embrace these haunting realities.

This novel serves as a poignant reminder of the universal human experience of searching for meaning and purpose in a complex and often confusing world.

A formative text for me;

that initial read during my first semester of undergrad was truly revelatory. It was as if a whole new world had opened up before my eyes. I felt an irresistible compulsion to finally return to it, and I'm just now realizing that it's almost exactly twenty (!) years to the date.

And while the story itself no longer holds the same deeply personal meaning for me as it did back then, I read it now with a sense of warm reminiscence. It's like catching up with a long lost friend, sharing smiles over memories we both cherish.

Nevertheless, it remains an incredibly exciting read, fiercely ablaze with youthful swagger, intense enthusiasms, and a plethora of ideas. As autofiction, there is obviously a sharp specificity to the story of Amory Blaine. But this time around, I was most intrigued by how the shifts in format, voice, and mode, although not always individually successful, have a wonderful cumulative, collage-like effect.

It really does feel like the scrapbook of an era, capturing the essence of an entire generation. And, of course, it is crowned by one of the great closing lines in all of literature:

"I don't want to repeat my innocence. I want the pleasure of losing it again."

This line has always stayed with me, encapsulating the bittersweet nature of growing up and the longing for experiences that can never be recaptured.

Honestly, the absolute best thing about this book is that I bought my copy when I was 14 on a stand outside of Central Park one rainy afternoon, after exploring the MET. It was truly a remarkable experience. That day was probably one of the most magical days of my life. The combination of the rainy weather, the beautiful Central Park, and the discovery of this wonderful book created a memory that will last a lifetime.

Fitzgerald's books are like a dream (teetering on nightmares, sometimes), and they are all mine. His writing style is so captivating and his stories are filled with complex characters and themes. Every time I read one of his books, I am transported to a different world and I become completely immersed in the story.

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I am currently on a Fitzgerald reread binge for like the 30th time in my life. To absolutely no one's surprise, I am still as in love with his books as I was when I first started reading them. His works have a timeless quality that keeps drawing me back, and I know that I will continue to reread them for many years to come.