"If there is duplicity in Fitzgerald, it is precisely towards Zelda Sayre: continuous work against madness, but also dialogue with it; the sublime coincidence between a spirit of conservation and one of destruction. It was impossible for him to continue his life without the completeness of love: or rather, Fitzgerald works, and works hard (even up to the infarct), but moves into society from then on as the phantom of himself; works to pay for Zelda's now hopeless cure. And if he goes back to writing with The Last Fires, it's to look for her in a different world: far from the clinic and even further from reality. "
F. Scott Fitzgerald and Italy traces the history of editorial reception and criticism that our country had towards the work of the American writer: from the first translations of Tenera is the night and The Great Gatsby, which were ignored by the public, until the authorial rediscovery after World War II and the new Italian editions that followed, to arrive at the conclusion that "from the dialogue with himself and with Zelda the whole work of Fitzgerald was born".