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How to Write Great And yet, at the end of the day — our own or days in general — what else do we seek from our books? The verities need not be expressed gently, unambiguously or in rhyming couplets, but it is the verities that make us know ourselves. And you can swoon your critical head off over Joyce’s bourgeois “Ulysses” and Robert Graves’s girl-crazy “Ulysses,” and still know in your acritical heart that neither holds a candle to the original wild sailor or even to Tennyson’s old salt, who strove, sought and found, and did not yield. When I start thinking this way, I wonder if I’m just growing old, and tired of modernity. Why, for example, do the great writers use anticipation instead of surprise? There have been times in literary history when writers steered clear of the great moral issues, but not completely, and never for long. So, let us speak of Fitzgerald, and of Jay Gatsby, who stood straight and sober in the drunken Twenties, and who, nutty as his yearnings may have been, really was great.

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