{'fraction_non_alphanumeric': 0.04218362282878412, 'fraction_numerical': 0.009098428453267164, 'mean_word_length': 4.601851851851852, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Insoluble Problems of Personal Charm : Intimacy and the "Dying Fall" of Dick Diver in F. Scott Fitzgerald’s Tender Is the Night

One of the most longstanding criticisms F. Scott Fitzgerald’s Tender Is the Night has endured since its first publication in 1934 is that the etiology of the protagonist Dick Diver’s “dying fall”1 is obscure. As Kirk Curnutt summarizes, critics often attribute this obscurity to the inconsistencies in the characterization of Dick Diver, and argue that it mars the tragic representation of Dick’s relationship with his schizophrenic wife, Nicole Warren Diver (121). Fitzgerald himself, several years after the publication of Tender, looked back on the novel in a letter and observed: “I did not manage, I think in retrospect, to give Dick the cohesion I aimed at . . . . I wonder what the hell the first actor who played Hamlet thought of the part? I can hear him say, ‘The guy’s a nut, isn’t he?’ (we can always find great consolation in Shakespeare)” (Letters 567). Reading Tender Is the Night, however, one notices that Dick senses the loss of his own self-integrity. In Book II, when Dick takes leave from his clinic, and travels alone after Nicole’s relapse, he reflects: