BERNICE BOBS HER HAIR
"Bernice Bobs her Hair" was Fitzgerald's fourth Saturday Evening Post story (1 May 1920) and provided the subject for the dust-jacket illustration when it was collected in Flappers and Philosophers. It occupies an important position in the Fitzgerald canon as a witty early treatment of a characteristic subject that he would later examine more seriously: the competition for social success and the determination with which his characters especially the young women engage in it. The story was based on the detailed memo Fitzgerald wrote his younger sister, Annabel, advising her how to achieve popularity with boys: "Cultivate deliberate physical grace." (See the complete letter in Correspondence of F. Scott Fitzgerald, pp. 15-18.) Fitzgerald had some difficulty bringing "Bernice" to salable form; he cut some three thousand words and rewrote to "inject a snappy climax."
After dark on Saturday night one could stand on the first tee of the golf-course and see the country-club windows as a yellow expanse over a very black and wavy ocean. The waves of this ocean, so to speak, were the heads of many curious caddies, a few of the more ingenious chauffeurs, the golf professional's deaf sister and there were usually several stray, diffident waves who might have rolled inside had they so desired. This was the gallery.
The balcony was inside. It consisted of the circle of wicker chairs that lined the wall of the combination clubroom and ballroom. At these Saturday-night dances it was largely feminine; a great babel of middle-aged ladies with sharp eyes and icy hearts behind lorgnettes and large bosoms. The main function of the balcony was critical. It occasionally showed grudging admiration, but never approval, for it is well known among ladies over thirty-five that when the younger set dance in the summer-time it is with the very worst intentions in the world, and if they are not bombarded with stony eyes stray couples will dance weird barbaric interludes in the corners, and the more popular, more dangerous, girls will sometimes be kissed in the parked limousines of unsuspecting dowagers.
But, after all, this critical circle is not close enough to the stage to see the actors' faces and catch the subtler byplay. It can only frown and lean, ask questions and make satisfactory deductions from its set of postulates, such as the one which states that every young man with a large income leads the life of a hunted partridge. It never really appreciates the drama of the shifting, semicruel world of adolescence. No; boxes, orchestra-circle, principals, and chorus are represented by the medley of faces and voices that sway to the plaintive African rhythm of Dyer's dance orchestra.
From sixteen-year-old Otis Ormonde, who has two more years at Hill School, to G. Reece Stoddard, over whose bureau at home hangs a Harvard law diploma; from little Madeleine Hogue, whose hair still feels strange and uncomfortable on top of her head, to Bessie MacRae, who has been the life of the party a little too long more than ten years the medley is not only the center of the stage but contains the only people capable of getting an unobstructed view of it.
With a flourish and a bang the music stops. The couples exchange artificial, effortless smiles, facetiously repeat "la-de-da-da dum-dum," and then the clatter of young feminine voices soars over the burst of clapping.
A few disappointed stags caught in midfloor as they had been about to cut in subsided listlessly back to the walls, because this was not like the riotous Christmas dances these summer hops were considered just pleasantly warm and exciting, where even the younger marrieds rose and performed ancient waltzes and terrifying fox trots to the tolerant amusement of their younger brothers and sisters.
Warren McIntyre, who casually attended Yale, being one of the unfortunate stags, felt in his dinner-coat pocket for a cigarette and strolled out onto the wide, semidark veranda, where couples were scattered at tables, filling the lantern-hung night with vague words and hazy laughter. He nodded here and there at the less absorbed and as he passed each couple some half-forgotten fragment of a story played in his mind, for it was not a large city and every one was Who's Who to every one else's past. There, for example, were Jim Strain and Ethel Demorest, who had been privately engaged for three years. Every one knew that as soon as Jim managed to hold a job for more than two months she would marry him. Yet how bored they both looked, and how wearily Ethel regarded Jim sometimes, as if she wondered why she had trained the vines of her affection on such a wind-shaken poplar.
Copyright © 1989 by Charles Scribner's Sons
THE OFFSHORE PIRATE
"The Offshore Pirate" (29 May 1920) was Fitzgerald's third Saturday Evening Post appearance during that month and demonstrates his rapid development as a versatile fiction writer. It is the first story that develops Fitzgerald's recurring plot idea of a heroine won by her lover's performance of an extraordinary deed.
The story had originally ended with the weak explanation that it was all Ardita's dream. Fitzgerald rewrote the conclusion to emphasize the storyness of the story: "The last line takes Mr. Lorimer [the editor of the Post] at his word. Its one of the best lines I've ever written." "The Offshore Pirate" was collected in Flappers and Philosophers.
This unlikely story begins on a sea that was a blue dream, as colorful as blue-silk stockings, and beneath a sky as blue as the irises of children's eyes. From the western half of the sky the sun was shying little golden disks at the sea if you gazed intently enough you could see them skip from wave tip to wave tip until they joined a broad collar of golden coin that was collecting half a mile out and would eventually be a dazzling sunset. About half-way between the Florida shore and the golden collar a white steam-yacht, very young and graceful, was riding at anchor and under a blue-and-white awning aft a yellow-haired girl reclined in a wicker settee reading The Revolt of the Angels, by Anatole France.
She was about nineteen, slender and supple, with a spoiled alluring mouth and quick gray eyes full of a radiant curiosity. Her feet, stockingless, and adorned rather than clad in blue-satin slippers which swung nonchalantly from her toes, were perched on the arm of a settee adjoining the one she occupied. And as she read she intermittently regaled herself by a faint application to her tongue of a half-lemon that she held in her hand. The other half, sucked dry, lay on the deck at her feet and rocked very gently to and fro at the almost imperceptible motion of the tide.
The second half-lemon was well-nigh pulpless and the golden collar had grown astonishing in width, when suddenly the drowsy silence which enveloped the yacht was broken by the sound of heavy footsteps and an elderly man topped with orderly gray hair and clad in a white-flannel suit appeared at the head of the companionway. There he paused for a moment until his eyes became accustomed to the sun, and then seeing the girl under the awning he uttered a long even grunt of disapproval.
If he had intended thereby to obtain a rise of any sort he was doomed to disappointment. The girl calmly turned over two pages, turned back one, raised the lemon mechanically to tasting distance, and then very faintly but quite unmistakably yawned.
"Ardita!" said the gray-haired man sternly.
Ardita uttered a small sound indicating nothing.
"Ardita!" he repeated. "Ardita!"
Ardita raised the lemon languidly, allowing three words to slip out before it reached her tongue.
"Oh, shut up."
"Will you listen to me or will I have to get a servant to hold you while I talk to you?"
The lemon descended slowly and scornfully.
"Put it in writing."
"Will you have the decency to close that abominable book and discard that damn lemon for two minutes?"
"Oh, can't you lemme alone for a second?"
"Ardita, I have just received a telephone message from the shore "
"Telephone?" She showed for the first time a faint interest.
"Yes, it was "
"Do you mean to say," she interrupted wonderingly, "'at they let you run a wire out here?"
"Yes, and just now "
"Won't other boats bump into it?"
"No. It's run along the bottom. Five min "
"Well, I'll be darned! Gosh! Science is golden or something isn't it?"
"Will you let me say what I started to?"
"Well, it seems well, I am up here " He paused and swallowed several times distractedly. "Oh, yes. Young woman, Colonel Moreland has called up again to ask me to be sure to bring you in to dinner.
Copyright © 1989 by Charles Scribner's Sons
"May Day," Fitzgerald's first great novelette published during his first year as a professional writer appeared in July 1920. Fitzgerald presumably sold it directly to Smart Set editors H. L. Mencken and George Jean Nathan without offering it to the Post, or any other magazine, because the material was too strong or realistic for the slicks. "May Day" was the most successful work inspired by Fitzgerald's temporary interest in the school of naturalistic or deterministic fiction. Although it was read by the people Fitzgerald wanted to reach, The Smart Set paid him only $200 for this masterpiece.
"May Day" drew upon Fitzgerald's feelings of failure during the spring of 1919 when he was working for a New York advertising agency. He provided this comment when the story was collected in Tales of the Jazz Age (1922):
This somewhat unpleasant tale...relates a series of events which took place in the spring of the previous year. Each of the three events made a great impression upon me. In life they were unrelated, except by the general hysteria of that spring, which inaugurated the Age of Jazz, but in my story I have tried, unsuccessfully I fear, to weave them into a pattern a pattern which would give the effect of those months in New York as they appeared to at least one member of what was then the younger generation.
There had been a war fought and won and the great city of the conquering people was crossed with triumphal arches and vivid with thrown flowers of white, red, and rose. All through the long spring days the returning soldiers marched up the chief highway behind the strump of drums and the joyous, resonant wind of the brasses, while merchants and clerks left their bickerings and figurings and, crowding to the windows, turned their white-bunched faces gravely upon the passing battalions.
Never had there been such splendor in the great city, for the victorious war had brought plenty in its train, and the merchants had flocked thither from the South and West with their households to taste of all the luscious feasts and witness the lavish entertainments prepared and to buy for their women furs against the next winter and bags of golden mesh and varicolored slippers of silk and silver and rose satin and cloth of gold.
So gaily and noisily were the peace and prosperity impending hymned by the scribes and poets of the conquering people that more and more spenders had gathered from the provinces to drink the wine of excitement, and faster and faster did the merchants dispose of their trinkets and slippers until they sent up a mighty cry for more trinkets and more slippers in order that they might give in barter what was demanded of them. Some even of them flung up their hands helplessly, shouting:
"Alas! I have no more slippers! and alas! I have no more trinkets! May Heaven help me, for I know not what I shall do!"
But no one listened to their great outcry, for the throngs were far too busy day by day, the foot-soldiers trod jauntily the highway and all exulted because the young men returning were pure and brave, sound of tooth and pink of cheek, and the young women of the land were virgins and comely both of face and of figure.
So during all this time there were many adventures that happened in the great city, and, of these, several or perhaps one are here set down.
At nine o'clock on the morning of the first of May, 1919, a young man spoke to the room clerk at the Biltmore Hotel, asking if Mr. Philip Dean were registered there, and if so, could he be connected with Mr. Dean's rooms. The inquirer was dressed in a well-cut, shabby suit. He was small, slender, and darkly handsome; his eyes were framed above with unusually long eyelashes and below with the blue semicircle of ill health, this latter effect heightened by an unnatural glow which colored his face like a low, incessant fever.
Mr. Dean was staying there. The young man was directed to a telephone at the side.
After a second his connection was made; a sleepy voice hello'd from somewhere above.
"Mr. Dean?" this very eagerly "it's Gordon, Phil. It's Gordon Sterrett. I'm down-stairs. I heard you were in New York and I had a hunch you'd be here."
Copyright © 1989 by Charles Scribner's Sons
"My whole theory of writing I can sum up in one sentence. An author ought to write for the youth of his own generation, the critics of the next, and the schoolmasters of ever afterward." So proclaimed the young Scott Fitzgerald in the first flush of success at the appearance of This Side of Paradise in 1920. How magnificently if, sad to say, posthumously he fulfilled that ideal. His all too brief literary career a dozen years of commercial and critical success followed by distractions and disappointments ended in 1940 when he suffered a fatal heart attack at the age of forty-four. He was hard at work on the Hollywood novel he hoped would restore his literary fortunes, The Last Tycoon. At the time of his death his books were not, as was later supposed, out of print with his publisher. The truth is sadder: they were all in stock at our warehouse and listed in the catalogue, but there were no orders.
Now, a half century later, more copies of F. Scott Fitzgerald's books are ordered each year than were sold cumulatively throughout his entire lifetime. His novels and short stories are taught in virtually every high school and college across the country. This new, comprehensive collection of Fitzgerald's best short fiction is being published some seventy years a biblical lifespan after the author's first novel was accepted by my great-grandfather in 1919. I am struck by the realization that three generations (and namesakes) later I was the first of our family to have been introduced to Fitzgerald's work in the classroom. My grandfather, Fitzgerald's friend and publisher for the latter half of his career, died on the eve of the author's reappraisal and subsequent revival that gained momentum through the Fifties and has continued in full force down to the present time. It was my father who was to preside over Fitzgerald's literary apotheosis, a publishing phenomenon perhaps unprecedented in modern American letters. Through him I had the good fortune to meet and work with the author's talented and generous daughter, Scottie, and her collaborator and advisor, Matthew J. Bruccoli, whose prolific scholarship and infectious enthusiasm have long fanned the flames of Fitzgerald studies.
The day I met Professor Bruccoli fifteen years ago I asked what had prompted him to devote the lion's share of his scholarship to Fitzgerald. He told me exactly how it happened. One Sunday afternoon in 1949 Bruccoli, then a high school student, was driving with his family along the Merritt Parkway from Connecticut to New York City when he heard a dramatization of "The Diamond as Big as the Ritz" on the car radio. He later went to a library to find the story; the librarian had never heard of Scott Fitzgerald. But finally he managed to locate a copy "and I never stopped reading Fitzgerald."
There is something magical about F. Scott Fitzgerald. Much has been written and dramatized about the Jazz Age personas and syncopated lives of Scott and Zelda. But the real magic lies embedded in his prose and it is perhaps nowhere more pervasive than in the amazing range and versatility of his short stories: the best sparkle with greater luster than ever in this new collection that displays them afresh in their proper literary and biographical settings. Each tale partakes of its creator's poetic imagination, his dramatic vision, his painstaking (if virtuosic and seemingly effortless) craftsmanship. Each bears Fitzgerald's distinctive hallmark, the indelible stamp of grace.
Fitzgerald once claimed to his agent Harold Ober that "good stories write themselves bad ones have to be written." Yet a decade later he confessed that "there is no use of me trying to rush things." Even during his most prolific stages, he noted, "I could not turn out more than 8-9 top-price stories a year." The secret of success was not to be found in original themes. In his own view there were but "two basic stories of all times Cinderella and Jack the Giant Killer the charm of women and the courage of men." Nor should we look to the "booze and inspiration" school of thought, as he dubbed it: "You do not," he argued, "produce a short story for the Saturday Evening Post on a bottle." (Fitzgerald did, however, admit to writing his first novel with the aid of a liquid "stimulant" Coca-Cola!) Some clues to his creative craftsmanship may be gleaned from his instructive if sometimes professorial letters to his daughter: "Stories are best written in either one jump or three, according to length. The three-jump story should be done on three successive days, then a day or so for revise and off she goes. This of course is the ideal...." Still, he cautioned her, "nobody ever became a writer just by wanting to be one. If you have anything to say, anything you feel nobody has ever said before, you have got to feel it so desperately that you will find some way to say it that nobody has ever found before, so that the thing you have to say and the way of saying it blend as one matter as indissolubly as if they were conceived together."
In the last year of his life Fitzgerald pondered in a poignant letter to his wife, Zelda, then hospitalized in an asylum, the loss of his former success in the genre: "It's odd that my old talent for the short story vanished. It was partly that times changed, editors changed, but part of it was tied up somehow with you and me the happy ending. Of course every third story had some other ending, but essentially I got my public with stories of young love. I must have had a powerful imagination to project it so far and so often into the past." The key to Fitzgerald's enduring and elusive enchantment lies, I believe, in the power of his romantic imagination to transfigure his characters and settings and indeed the very shape and sound of his prose. I shall never forget that evening train ride from Princeton to Philadelphia on which I first read "The Diamond as Big as the Ritz": a commute was converted into a fantastic voyage. And I can still see Anson Hunter, "The Rich Boy," whose self-conscious superiority will forever, in my eyes, embellish the gilded lobby of New York's Plaza Hotel. Fitzgerald's stories transform their external geography as thoroughly as the realm within. The ultimate effect, once the initial reverberations of imagery and language have subsided, transcends the bounds of fiction.
Charles Scribner III
Copyright © 1989 by Charles Scribner's Sons