Working with the complete collection of Tender is the Night manuscripts in the Princeton University Library, Matthew J. Bruccoli reconstructs seventeen drafts and three versions of the novel to answer questions about F. Scott FitzgeraldÆs major work that have long puzzled critics of modern literature. In 1934, nine years after the appearance of The Great Gatsby, Fitzgerald permitted publication of Tender is the Night. Disappointed by its critical reception, Fitzgerald suggested that the structure of the novel should be drastically rearranged. In 1951, eleven years after his death, Charles ScribnerÆs Sons brought out an edition that incorporated FitzgeraldÆs changes. Controversy arose over the merits of the two published versions and over the \u201cnine lost years\u201d in FitzgeraldÆs life between his two great novels, years of rewriting before publication of Tender is the Night that resulted in six cartons of notes and drafts. After analyzing this wealth of material, Bruccoli reconstructs every working stage in the novel and reaches his own conclusions about which edition is the most valid.

During the early 1930s, after James Gould Cozzens had published four romantic novels and then withdrawn them from circulation, he wrote the first three of what Brenden Gill called his eight \u201ccanonical works.\u201d But it was only after the publication of By Love Possessed in 1957 that he achieved wide popularity. Mooney closely examines each of CozzensÆ novels, isolating and defining his main themes and addressing the critical acclaim and condemnation of his works. Among the novels Mooney analyzes are: S.S. San Pedro, Castaway, The Last Adam, Men and Brethren, Ask Me Tomorrow, The Just and the Unjust, Guard of Honor, and By Love Possessed.

In this work, the reader experiences the life of Samuel Pepys and his freinds, great and small, in seventeenth-century London. We see great men of war, business and letters, enhanced by Percival HuntÆs comprehensive bibliography.

The sixteen essays in this volume form a series of related focuses upon various levels and areas of literary criticism. W.K. Wimsatt's assumption is that practice and theory of both the past and the present are integrally related-that there is a continuity in the materials of criticism-that a person who studies poetry today has a critical concern, not merely a historical interest, in what Aristotle or Plato said about poetry. He regards the great perennial problems of criticism as arising not by the whim of a tolerantly pluralist choice, but from the nature of language and reality.With profound learning and insight, Wimsatt treats almost the whole range of literary criticism. The first group of essays deals with fallacies he believes are involved in prevalent approaches to the literary object. The next two groups face the responsibilities of the critic who defends literature as a form of knowledge; they treat various problems of structure and style. The last group undertakes to examine the relation of literature to other arts, the relation of evaluative criticism to historical studies, and the relation of literature not only to morals, but more broadly to the whole complex of the Christian religious tradition.