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The Beautiful and Damned, by F. Scott Fitzgerald, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics: All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences-biographical, historical, and literary-to enrich each reader's understanding of these enduring works. In 1921 F. Scott Fitzgerald was twenty-five and heralded as the most promising writer of his generation, owing to the success of his first novel This Side of Paradise. Recently married to the girl of his dreams, the former Zelda Sayre, Fitzgerald built upon his sudden prosperity with The Beautiful and the Damned, a cautionary tale of reckless ambition and squandered talent set amid the glitter of Jazz Age New York.  The novel chronicles the relationship of Anthony Patch, a Harvard-educated, aspiring writer, and his beautiful young wife, Gloria. While they wait for Anthony's grandfather to die and pass his millions on to them, the young couple enjoys an endless string of parties, traveling, and extravagance. Beginning with the pop and fizz of life itself, The Beautiful and the Damned quickly evolves into a scathing chronicle of a dying marriage and a hedonistic society in which beauty is all too fleeting.

A fierce parable about the illusory quality of dreams, the intractable nature of reality, and the ruin wrought by time, The Beautiful and the Damned eerily anticipates the dissipation and decline that would come to the Fitzgeralds themselves before the decade had run its course. Pagan Harleman studied literature at Columbia College, then traveled extensively in the Middle East and West Africa before receiving an MFA from New York University's graduate film program. While at NYU she made several awardwinning shorts and received the Dean's Fellowship, the Steven Tisch Fellowship, and a Director's Craft Award.

About The Author Pagan Harleman studied literature at Columbia College, then traveled extensively in the Middle East and West Africa before receiving an MFA from New York University's graduate film program. While at NYU she made several award-winning shorts and received the Dean's Fellowship, the Steven Tisch Fellowship, and a Director's Craft Award.

Biography The greatest writers often function in multifaceted ways, serving as both emblems of their age and crafters of timeless myth. F. Scott Fitzgerald surely fits this description. His work was an undeniable product of the so-called Jazz Age of the 1920s, yet it has a quality that spans time, reaching backward into gothic decadence and forward into the future of a rapidly decaying America. Through five novels, six short story collections, and one collection of autobiographical pieces, Fitzgerald chronicled a precise point in post-WWI America, yet his writing resonates just as boldly today as it did nearly a century ago.

Fitzgerald's work was chiefly driven by the disintegration of America following World War I. He believed the country to be sinking into a cynical, Godless, depraved morass. He was never reluctant to voice criticism of America's growing legions of idle rich. Recreating a heated confrontation with Ernest Hemingway in a short story called "The Rich Boy," Fitzgerald wrote, "Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft where we are hard, and cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand. They think, deep in their hearts, that they are better than we are because we had to discover the compensations and refuges of life for ourselves. Even when they enter deep into our world or sink below us, they still think that they are better than we are. They are different." The preceding quote may sum Fitzgerald's philosophy more completely than any other, yet he also hypocritically embodied much of what he claimed to loathe. Fitzgerald spent money freely, threw lavish parties, drank beyond excess, and globe-trotted with his glamorous but deeply troubled wife Zelda. Still, in novel after novel, he sought to expose the great chasm that divided the haves from the have-nots and the hollowness of wealth. In This Side of Paradise (1920) he cynically follows opulent, handsome Amory Blaine as he bounces aimlessly from Princeton to the military to an uncertain, meaningless future. In The Beautiful and the Damned (1922) Fitzgerald paints a withering portrait of a seemingly idyllic marriage between a pair of socialites that crumbles in the face of Adam Patch's empty pursuit of profit and the fading beauty of his vane wife Gloria. The richest example of Fitzgerald's disdain for the upper class arrived three years later. The Great Gatsby is an undoubted American classic, recounting naïve Nick Carraway's involvement with a coterie of affluent Long Islanders, and his ultimate rejection of them when their casual decadence leads only to internal back-stabbing and murder. Nick is fascinated by the mysterious Jay Gatsby, who had made the fatal mistake of stepping outside of his lower class status to pursue the lovely but self-centered Daisy Buchanan. In The Great Gatsby, all elements of Fitzgerald's skills coalesced to create a narrative that is both highly readable and subtly complex. His prose is imbued with elegant lyricism and hard-hitting realism. "It is humor, irony, ribaldry, pathos and loveliness," Edwin C. Clark wrote of the book in the New York Times upon its 1925 publication. "A curious book, a mystical, glamorous story of today. It takes a deeper cut at life than hitherto has been essayed by Mr. Fitzgerald."

Gatsby is widely considered to be Fitzgerald's masterpiece and among the very greatest of all American literature. It is the ultimate summation of his contempt for the Jazz-Age with which he is so closely associated. Gatsby is also one of the clearest and saddest reflections of his own destructive relationship with Zelda, which would so greatly influence the mass of his work. Fitzgerald only managed to complete one more novel -- Tender is the Night -- before his untimely death in 1940. An unfinished expose of the Hollywood studio system titled The Love of the Last Tycoon would be published a year later. Still The Great Gatsby remains his quintessential novel. It has been a fixture of essential reading lists for decades and continues to remain an influential work begging to be revisited. It has been produced for the big screen three times and was the subject of a movie for television starring Toby Stephens, Mira Sorvino, and Paul Rudd as recently as 2000. Never a mere product of a bygone age, F. Scott Fitzgerald's greatest work continues to evade time.

Good To Know In 1937, Fitzgerald moved to Hollywood to pursue a screenwriting career. He only completed a single screenplay Three Comrades during this time before being fired for his excessive drinking. He held a very romantic view of Princeton before attending the university in 1913. However, his failure to maintain adequate grades or become the football star he dreamed to be lead to an early end to his studies in 1917. Fitzgerald owes a his name to another famous American writer. He was named after Francis Scott Key, the composer of "The Star Spangled Banner," who also happened to be a distant relative of Fitzgerald's.

Reviews This edition includes a detailed account of the composition of the novel, a textual apparatus, a chronology of composition, and, uniquely, three versions of the ending. Explanatory notes situate The Beautiful and Damned in its times and deepen the reader's understanding of Fitzgerald's sources for the novel.

Fitgerald can rip your guts out. The protagonists are not hateful,;their values though are.They are beautiful and they will decay themseves in indolence,irrelevance,privilege and selfishness, booze simply comes along for the ride,greasing the skids into decline and damnation of the spirit and the body and in Anthony's case,a seriously beautiful mind. I kept wanting to open a window,blow in clean fresh live air and light,life and some kind ofcleansing anger.This book is written y a amaster,it hurts,it is hard,and in it's way,it is beautiful,even if it hurts.

At first I was really interested in this story I really liked the characters but I was really disappointed when half way through it I started to get board. Though the story was good at first it never quite picked up. Although it is a classic I just did not care for it much.

This is Fitzgerald's best book. Best characters, best story, best writing. It is underrated, maligned and misunderstood. Romance has a dark side, and this it. Love is destructive. The question Fitzgerald ponders in this great work is whether love is destructive in and of itself, or is the love destructive because of the times (roaring 20s and the Great Depression). Hard to say. He argues both sides, that's for sure. More so than any other work of literature, The Beautiful and Damned comes closest to my own personal experience of Romance, then and now. I love Gatsby-which has jewel-like construction and has earned its place as masterpiece, but I want to provoke. B&D may be second, but

second place tries harder! I love Fitzgerald's writing, but this novel has been either overlooked or maligned that I feel I must state a stronger opinion in favor of it. Then it has this great line-after Gloria and Anthony get a new car-about how the same discussions were, who should drive, and how fast should Gloria go. What man hasn't been in that situation? Also, the idea that each generation has its own definition of beauty is one that is inescapable, and not without consequence. Please Visit:

Read An Excerpt From Pagan Harleman's Introduction to The Beautiful and Damned            F. Scott Fitzgerald wrote The Beautiful and Damned, his second book, when he was only twenty-five. It was published in 1922, just as the Jazz Age was beginning to hit its stride. The war was over, the economy was booming, the skyscrapers were rising, the flappers were vamping, the alcohol was flowing (despite Prohibition), the music was swinging, and the party appeared to be never-ending. America was, as Fitzgerald later said, "going on the greatest, gaudiest spree in history and there was going to be plenty to tell about it" (The Crack-Up, with Other Pieces and Stories, p. 59; see "For Further Reading"). Who better to chronicle the splendor of this new age than Fitzgerald, the man who since the rip-roaring success of his first novel had been called its most notorious voice?   Although he was the poster boy for this extravagant age, with his second book Fitzgerald chose to focus not on the splendor of the era, but instead on its spoils, the ugly aftermath of the party. The Beautiful and Damned is a cautionary tale of a young, insouciant, and irresponsible couple, Anthony and Gloria Patch, and their inevitable downward spiral. In the beginning, they are carefree and happy, buoyed by their love for each other and the hope that Anthony will one day inherit his grandfather's vast fortune. By the end, they have deteriorated to such an extent that both appear to be bitter, empty shells of their former selves. Gloria has lost her beauty and with it her confidence, and Anthony has metamorphosed into a dissolute drunk who behaves like a child. Theirs is a bleak story without any real promise of redemption.   The Beautiful and Damned is Fitzgerald's least-known novel, yet it provides fascinating insight into his development as a writer and his evolution as a person. Stylistically, it functions as the intermediate step between the unfocused but exuberant vitality of his debut novel, This Side of Paradise, and the superb craftsmanship of his third and in many ways greatest book, The Great Gatsby. While This Side of Paradise is a discursive story with digressions aplenty and The Great Gatsby is a seamless, nearly flawless narrative, The Beautiful and Damned is somewhere in between: a fully fashioned and controlled story that nevertheless often belabors its points and exhausts its themes. Despite its defects, the book is a compelling story that allowed Fitzgerald to explore fundamental questions and themes he developed throughout his fiction: What is the purpose and the cost of maintaining dreams? What motivates failure? What causes people to fall in and out of love? And what makes a character tragic? Tragedy, of course, was a running theme in Fitzgerald's psyche and his life.   When Fitzgerald began to write The Beautiful and Damned, his life was anything but tragic. His first novel had just been published to wide critical and popular acclaim, selling more than 75,000 copies. He was universally hailed as literary wunderkind and had become one of the highest-paid short story writers in the business. He had finally won the

hand of his sweetheart, Zelda, and together they were living the high life in New York, feted everywhere as the glamour couple. At the age of twenty-four, Fitzgerald had achieved all his dreams, and the future looked infinitely bright and promising. Yet within fourteen years he would hit rock bottom and become an alcoholic living in a cheap motel, eating twenty-five-cent meals and washing his own clothes in the sink while his wife was treated for schizophrenia in a nearby sanatorium. By then, unable to write and owing tens of thousands of dollars, overwhelmed by his dire situation, Fitzgerald would crack, suffer a nervous breakdown, and, like his character Anthony Patch, become a broken man. Â While there is no simple explanation of how Fitzgerald's downfall came about, there is no question that by writing The Beautiful and Damned he was expressing his fears of dissipation and, to a certain extent, prophetically anticipating and foreshadowing his own decline. Although he created several memorable heroes, in many ways Fitzgerald was his own greatest tragic figure. In keeping with the credo of his Romantic idols, like John Keats, he lived life at full speed, flinging himself into every experience with frightening energy to enlarge his powers as an artist. He married a woman who zealously asserted her own will and her thirst for life without fear, inhibition, or, at times, regard for him. Fitzgerald always had the capacity to recognize the risks inherent in his own behavior, to acknowledge that he was self-destructive, but he lacked the desire, strength, or ability to change. His resistance to change was perhaps a result of his artistic commitment. Fitzgerald's first and foremost priority was to experience life, then to write about it. Everything else, even self-preservation, came second. While his lack of caution may in retrospect appear irresponsible, even indeed tragic, he did produce magnificent writing.

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