The F. Scott Fitzgerald Review publishes essays on all aspects of F. Scott Fitzgerald’s life and work. The journal serves both the specialist and the general reader with essays that broaden understanding of Fitzgerald’s writing and related topics. Annual issues include academic articles, book reviews, and review essays that a general reader can understand and appreciate. Roundtables on germane topics as a way to promote the exchange of ideas are also published. While the main discipline is literary studies, the journal is interdisciplinary in approach, welcoming analyses in all areas of interpretation as they apply to Fitzgerald and his times. While the centrality of The Great Gatsby is recognized, the journal is also eager to advance interest in the breadth of Fitzgerald’swriting, including not only his other novels, but also his short stories, nonfiction, drama, and literary criticism. The F. Scott Fitzgerald Review is published on behalf of F. Scott Fitzgerald Society.

Part of the Pennsylvania State University and a division of the Penn State University Libraries and Scholarly Communications, Penn State University Press serves the University community, the citizens of Pennsylvania, and scholars worldwide by advancing scholarly communication in the core liberal arts disciplines of the humanities and social sciences. The Press unites with alumni, friends, faculty, and staff to chronicle the University's life and history. And as part of a land-grant and state-supported institution, the Press develops both scholarly and popular publications about Pennsylvania, all designed to foster a better understanding of the state's history, culture, and environment.

This item is part of JSTOR collection
For terms and use, please refer to our Terms and Conditions
The F. Scott Fitzgerald Review © 2012 Penn State University Press
Request Permissions