This article argues that even given all the accolades showered upon “Babylon Revisited” (1931), critics have yet to appreciate the full measure of Fitzgerald's accomplishment. What critics have passed over is Fitzgerald's narratological prowess, his admirable command of the point of view of the story. The basic issues debated by critics for nearly fifty years now are if Charlie is in fact a changed man and if he deserves to get his daughter back. This article takes a hard look at Fitzgerald's technique in order to answer these questions, to bring out nuances in the story that critics have overlooked, and to give Fitzgerald the full credit he deserves.

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