The Beautiful and Damned. Фрэнсис Скотт Фицджеральд

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СКАЧАТЬ Fitzgerald’s view is a rather unsympathetic one. He regards this social set as destined for personal disaster, because they are too subjectively obsessed to be objective about life. As a result, they lack the ability to save themselves from their indulgences, both internal and external. Ultimately Fitzgerald is saying that they lack the ingredients to keep themselves grounded, leaving their priorities in disarray. Their failure to reflect and maintain perspective on life means they inevitably lack the wisdom to make the right decisions and consequently they head for a fall.

      It is this insight and analysis that makes Fitzgerald a great writer – he is just as interested in the human condition as he is in telling an entertaining story. The Beautiful and Damned is really a self-morality play, as the consequences it presents are self-impacting. The sub-society he describes is self-contained, like fermenting yeast in a demijohn, destined to destroy itself with the products of its own metabolism.

      Later Works

      There can be few novels as divisive as F. Scott Fitzgerald’s The Great Gatsby in terms of people’s opinion of its literary worth. It registered disappointing sales upon its publication in 1925 which led to Fitzgerald slipping into obscurity despite his having established a reasonable reputation with his earlier books. Following his death, in 1940, the book was included on a list of titles to be provided free to US service men and women fighting in World War Two. This meant that 150,000 copies began circulating through the armed forces until the book became familiar to overseas Americans. As a result it had inadvertently worked its way into the American psyche and won favour where otherwise it would have been forgotten.

      The story itself is essentially about the moral decay that ensued in America during the 1920s. Although other countries had class divisions, the US had the equivalent of an upper class in the form of patricians or members of long-established wealthy families. These New World aristocrats lorded themselves above other people and spent much of their lives partying their way through the Jazz Age. In addition, 1920 had seen the prohibition of alcohol, with the result that organized criminals had seen a way to make good money by bootlegging, or illegally selling liquor. When both of these groups came together they formed a social order of dilettantism – people who assumed and cultivated pretensions of sophistication. The story of The Great Gatsby spirals into tragedy as the book progresses with a succession of events – manslaughter, murder and then suicide – tragedy that seems all the more horrific after the spirited and frothy excesses that have come before.

      In stark contrast to The Great Gatsby came Fitzgerald’s final novel Tender is the Night (1934), which is autobiographical at its heart. At the time of writing the book Fitzgerald’s wife was being treated for schizophrenia and the author holed-up in a house near the hospital in Baltimore, Maryland. There he wrestled with the book and indulged his alcoholism, from which he had suffered for most of his adult life. The story is about a couple who become involved because he is a psychoanalyst and she his patient. She is wealthy and fragile of mind, while he is poor and strong of mind. However, the tables are eventually turned as he becomes dependent on the demon drink and his behaviour sends him on a downward spiral, while she finds someone else and divorces him for a better life.

      There are evidently themes in the book that run a close parallel with the real lives of the Fitzgeralds, so it seems that the author used the work as a way of unloading his darkest thoughts. It wasn’t so much a catharsis as a confessional, for Fitzgerald was laying his human flaws and desires bare for all to see, admitting that he had a drink problem and that his wife was his crutch. He was also known to have financial problems due to his frivolities and extravagancies and had turned to other women to satisfy his emotional and carnal desires. Much of his relationship with his wife had been spent as an amateur psychoanalyst, helping her to deal with her diminishing sanity.

      Just six years after Tender is the Night was published, Fitzgerald was dead. His self-abuse had caught up with him at the age of only 44 years old, with a massive cardiac arrest. It seems that his last book was also a prophecy of his impending demise from alcohol. It was only a matter of time before his mortal being abandoned his immortal ambition. Fitzgerald the legendary writer has now outlived Fitzgerald the man several times over.

      Fitzgerald and Hemingway

      Fitzgerald was friends with arguably the greatest American writer, Ernest Hemingway. Hemingway encouraged Fitzgerald to pursue his prose with artistic integrity, but grew frustrated with Fitzgerald’s tendency towards making his literature commercial. However, most of Fitzgerald’s novels did not perform that well, so a large part of his income came from magazine work, writing short stories which, by their very nature, had to conform to editorial requirements. Nine years after The Great Gatsby, he had struggled to complete his final novel, Tender is the Night. Unfortunately for Fitzgerald the book was received with disappointment and the decline of his writing career continued unabated. In the latter half of the 1930s he found work developing movie scripts and carried out further commercial writing. By the time of his death his literary career had died, too.

      In hindsight Fitzgerald’s work is regarded variously, but The Great Gatsby has become the quintessential American classic. Some feel that Fitzgerald’s talent would have been better focused on his novel writing, but fiscal matters always dictated that he continue with his commercial work. However, Hemingway may have been a heavyweight writer but he was certainly not a contented man. For him the praise he garnered for each new book was a fix. When he ran out of ideas he suffered severe depression and ultimately took his own life with a shotgun. Fitzgerald battled on in a workmanlike manner even when plaudits were a distant memory.

      The victor belongs to the spoils.

      —ANTHONY PATCH

      TO SHANE LESLIE, GEORGE JEAN NATHAN AND MAXWELL PERKINS

      IN APPRECIATION OF MUCH LITERARY HELP AND ENCOURAGEMENT

BOOK ONE

       CHAPTER 1

       ANTHONY PATCH

      In 1913, when Anthony Patch was twenty-five, two years were already gone since irony, the Holy Ghost of this later day, had, theoretically at least, descended upon him. Irony was the final polish of the shoe, the ultimate dab of the clothes-brush, a sort of intellectual “There!”—yet at the brink of this story he has as yet gone no further than the conscious stage. As you first see him he wonders frequently whether he is not without honor and slightly mad, a shameful and obscene thinness glistening on the surface of the world like oil on a clean pond, these occasions being varied, of course, with those in which he thinks himself rather an exceptional young man, thoroughly sophisticated, well adjusted to his environment, and somewhat more significant than any one else he knows.

      This was his healthy state and it made him cheerful, pleasant, and very attractive to intelligent men and to all women. In this state he considered that he would one day accomplish some quiet subtle thing that the elect would deem worthy and, passing on, would join the dimmer stars in a nebulous, indeterminate heaven half-way between death and immortality. Until the time came for this effort he would be Anthony Patch—not a portrait of a man but a distinct and dynamic personality, opinionated, contemptuous, functioning from within outward—a man who was aware that there could be no honor and yet had honor, who knew the sophistry of courage and yet was brave.

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