If you prefer reinvention to reinterpretation, the lapse of copyright protection also means that writers and artists can mine the characters and plots of a work for their own purposes without having to ask permission or pay a fee. “While we are spending more time trying to expand the current classics canon by finding more overlooked books and under-published voices, like the poetry of Chika Sagawa or ‘There Is Confusion,’ by Jessie Redmon Fauset, to not publish these 20th-century classics when they become available would be like not putting ‘Moby-Dick’ on the 19th-century shelf.” “Deciding to publish ‘Gatsby’ or ‘A Passage to India’ didn’t require a lot of mulling over,” he said. Tom Perry, the publisher of Modern Library, said that some decisions about what to bring under his division’s umbrella, like “The Great Gatsby,” are easier than others. Alworth.įour of those editions are issued by imprints at one publisher, Penguin Random House. In March, Norton Critical Editions will publish the novel with an introduction and annotations by the Harvard scholar David J. Now, in addition, readers can choose versions with introductions by John Grisham (Vintage Classics), Min Jin Lee (Penguin Classics), Malcolm Bradbury (Everyman’s Library) and Wesley Morris, a critic at large for The Times (Modern Library).
Scribner, which had held the rights to “Gatsby” since it first appeared, reissued the novel in 2018 with a new introduction by the two-time National Book Award winner Jesmyn Ward. Scott Fitzgerald’s classic, first published in 1925, as well as the Virginia Woolf novel “Mrs. 1, books, songs, movies and other copyrighted works more than 95 years old enter the public domain. If you’ve been planning to read (or reread) “ The Great Gatsby,” your biggest challenge now might be deciding on which edition.Įvery Jan.
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