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Essay / Research Paper Abstract
A 7 page paper which examines the thematic representations of F. Scott Fitzgerald’s classic work in McInerney’s 1980’s novel, and specifically considers the application of such major symbols as Amanda, the Midwest, New York City, coma baby, and sunglasses. Bibliography lists 5 sources.
Page Count:
7 pages (~225 words per page)
File: TG15_TGblbc.rtf
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Unformatted sample text from the term paper:
was a newlywed for the second time (Stein 39). Following in the footsteps of his idol, F. Scott Fitzgerald, McInerney penned a memorable novel debut. Despite rather sluggish
early sales, Bright Lights, Big City would become a cult favorite among the yuppie corporate set who worked as white-collar professionals during the day in order to indulge themselves in
the decadent night disco life. Bright Lights, Big City is a cynical look at the Big Apple of the 1980s York in all of its superficiality and mind numbing
attempts, and is now widely accepted as a "canonical account of cocaine-snorting junior glitterati in Gotham" (Stein 39). It is also an ode to Fitzgeralds 1920s masterpiece on the
capitalist illusion of the American Dream, The Great Gatsby. McInerney thematically presents the themes Fitzgerald considered through a participating narrator, parallel characters and symbolism. The Great Gatsby is a
story that is framed by and seen through the eyes of Nick Carraway, a 30-year-old Midwesterner who relocated to New York to make his living as a bond trader.
Fitzgerald employed a traditional first-person narrative style, which features the narrator as the protagonist, a catalyst who brings all of the characters together, ties up all loose plot ends, and
eventually takes the story full circle. The participating narrator/protagonist appealed to McInerney, but he decided to deviate from tradition by using a "second-person narration to underscore thematic concerns" (DelConte
204). This narrator, who remains nameless, prefers referring to himself as you as a way of emphasizing "an existence dictated from the outside" (DelConte 204). The fact checker
for a magazine that bears more than a passing resemblance to The New Yorker, finds himself succumbing to the many nocturnal pleasures the New York party scene had to offer.
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