It has been said by a celebrated person [This was Edna St. Vincent Millay, who met Scott Fitzgerald in Paris in the spring of 1921.] that to meet F. Scott Fitzgerald is to think of a stupid old woman with whom someone has left a diamond; she is extremely proud of the diamond and shows it to everyone who comes by, and everyone is surprised that such an ignorant old woman should possess so valuable a jewel; for in nothing does she appear so inept as in the remarks she makes about the diamond.
The person who invented this simile did not know Fitzgerald very well and can only have seen him, I think, in his more diffident or uninspired moods. The reader must not suppose that there is any literal truth in the image. Scott Fitzgerald is, in fact, no old woman, but a very good-looking young man, nor is he in the least stupid, but, on the contrary, exhilaratingly clever. Yet there is a symbolic truth in the description quoted above: it is true that Fitzgerald has been left with a jewel which he doesn’t know quite what to do with. For he has been given imagination without intellectual control of it; he has been given the desire for beauty without an aesthetic ideal; and he has been given a gift for expression without very many ideas to express.
Consider, for example, the novel—This Side of Paradise—with which he founded his reputation. It has almost every fault and deficiency that a novel can possibly have. It is not only highly imitative but it imitates an inferior model. Fitzgerald, when he wrote the book, was drunk with Compton Mackenzie, and it sounds like an American attempt to rewrite Sinister Street. Now, Mackenzie, in spite of his gift for picturesque and comic invention and the capacity for pretty writing that he says he learned from Keats, lacks both the intellectual force and the emotional imagination to give body and outline to the material which he secretes in such enormous abundance. With the seeds he took from Keats’s garden, one of the best-arranged gardens in England, he exfloreated so profusely that he blotted out the path of his own. Michael Fane, the hero of Sinister Street, was swamped in the forest of description; he was smothered by creepers and columbine. From the time he went up to Oxford, his personality began to grow dimmer, and, when he last turned up (in Belgrade) he seemed quite to have lost his identity. As a consequence, Amory Blaine, the hero of This Side of Paradise, had a very poor chance of coherence: Fitzgerald did endow him, to be sure, with a certain emotional life which the phantom Michael Fane lacks; but he was quite as much a wavering quantity in a phantasmagoria of incident that had no dominating intention to endow it with unity and force. In short, one of the chief weaknesses of This Side of Paradise is that it is really not about anything: its intellectual and moral content amounts to little more than a gesture—a gesture of indefinite revolt. The story itself, furthermore, is very immaturely imagined: it is always just verging on the ludicrous. And, finally, This Side of Paradise is one of the most illiterate books of any merit ever published (a fault which the publisher’s proofreader seems to have made no effort to remedy). Not only is it ornamented with bogus ideas and faked literary references, but it is full of literary words tossed about with the most reckless inaccuracy.
I have said that This Side of Paradise commits almost every sin that a novel can possibly commit: but it does not commit the unpardonable sin: it does not fail to live. The whole preposterous farrago is animated with life. It is rather a fluttering and mercurial life: its emotions do not move you profoundly; its drama does not make you hold your breath; but its gaiety and color and movement did make it come as something exciting after the realistic heaviness and dinginess of so much serious American fiction. If one recalls the sort of flavorless fodder of which Ernest Poole’s The Harbor was an example, one can understand the wild enthusiasm with which This Side of Paradise was hailed. The novel was also well-written—well-written in spite of its illiteracies. It is true, as I have said above, that Fitzgerald mishandles words; his works are full of malapropisms of the most disconcerting kind. You will find: “Whatever your flare [sic] proves to be—religion, architecture, literature”; “the Juvenalia of my collected editions”; “There were nice things in it [the room] … offsprings of a vicarious [vagarious] impatient taste”; “a mind like his, lucrative in intelligence, intuition and lightning decision”; etc., etc. It reminds one rather of:
Agib, who could readily, at sight,
Strum a march upon the loud Theodolite.
He would diligently play
On the Zoetrope all day,
And blow the gay Pantechnicon all night.
It is true that Scott Fitzgerald plays the language entirely by ear. But his instrument, for all that, is no mean one. He has an instinct for graceful and vivid prose that some of his more pretentious fellows might envy.
In regard to the man himself, there are perhaps two things worth knowing, for the influence they have had on his work. In the first place, he comes from the Middle West—from St. Paul, Minnesota. Fitzgerald is as much of the Middle West of large cities and country clubs as Sinclair Lewis is of the Middle West of the prairies and little towns. What we find in him is much what we find in the more prosperous strata of these cities: sensitivity and eagerness for life without a sound base of culture and taste; a structure of millionaire residences, brilliant expensive hotels and exhilarating social activities built not on the eighteenth century but simply on the flat Western land. And it seems to me rather a pity that he has not written more of the West: it is perhaps the only milieu that he thoroughly understands. When Fitzgerald approaches the East, he brings to it the standards of the wealthy West—the preoccupation with display, the appetite for visible magnificence and audible jamboree, the vigorous social atmosphere of amiable flappers and youths comparatively untainted as yet by the snobbery of the East. In The Beautiful and Damned, for example, we feel that he is moving in a vacuum; the characters have no real connection with the background to which they have been assigned; they are not part of the organism of New York as the characters, in, say, the short story Bernice Bobs Her Hair are a part of the organism of St. Paul. Surely F. Scott Fitzgerald should some day do for Summit Avenue what Lewis has done for Main Street. But you are not to suppose from all this that the author of This Side of Paradise is merely a typical well-to-do Middle Westerner, with correct clothes and clear skin, who has been sent to the East for college. The second thing one should know about him is that Fitzgerald is partly Irish and that he brings both to life and to fiction certain qualities that are not Anglo-Saxon. For, like the Irish, Fitzgerald is romantic, but also cynical about romance; he is bitter as well as ecstatic; astringent as we as lyrical. He casts himself in the role of playboy, yet at the playboy he incessantly mocks. He is vain, a little malicious, of quick intelligence and wit, and has an Irish gift for turning language into something iridescent and surprising. He often reminds one, in fact, of the description that a great Irishman, Bernard Shaw, has written of the Irish: “An Irishman’s imagination never lets him alone, never convinces him, never satisfies him; but it makes him that he can’t face reality nor deal with it nor handle it nor conquer it: he can only sneer at them that do … and imagination’s such a torture that you can’t bear it without whisky… And all the while there goes on a horrible, senseless, mischievous laughter.”
For the rest, F. Scott Fitzgerald is a rather childlike fellow, very much wrapped up in his dream of himself and his projection of it on paper. For a person of his mental agility, he is extraordinarily little occupied with the general affairs of the world: like a woman, he is not much given to abstract or impersonal thought. Conversations about politics or general ideas have a way of snapping back to Fitzgerald. But this seldom becomes annoying; he is never pretentious or boring. He is quite devoid of affectation and takes the curse off his relentless egoism by his readiness to laugh at himself and his boyish uncertainty of his talent. And he exhibits, in his personality as well as in his writings, a quality rare today among even the youngest American writers: he is almost the only one among them who is capable of lighthearted high spirits. Where a satirist like Sinclair Lewis would stew “the Problem of Salesmanship” in acrid rancorous fumes, Fitzgerald, in The Beautiful and Damned, has made of it hilarious farce. His characters—and he—are actors in an elfin harlequinade; they are as nimble, as gay and as lovely—and as hard-hearted—as fairies: Columbine elopes with Harlequin on a rope ladder dropped from the Ritz and both go morris-dancing amuck on a case of bootleg liquor; Pantaloon is pinked with an epigram that withers him up like a leaf; the Policeman is tripped by Harlequin and falls into the Pulitzer Fountain. Just before the curtain falls, Harlequin puts on false whiskers and pretends to be Bernard Shaw; he gives reporters an elaborate interview on politics, religion and history; a hundred thousand readers see it and are more or less impressed; Columbine nearly dies laughing; Harlequin sends out for a case of gin.
Let me quote a characteristic incident in connection with The Beautiful and Damned. Since writing This Side of Paradise—on the inspiration of Wells and Mackenzie—Fitzgerald has become acquainted with a different school of fiction: the ironical-pessimistic. In college, he had supposed that the thing to do was to write biographical novels with a burst of ideas toward the close; since his advent in the literary world, he has discovered that another genre has recently come into favor: the kind which makes much of the tragedy and what Mencken has called “the meaninglessness of life.” Fitzgerald had imagined, hitherto, that the thing to do in a novel was to bring out a meaning in life; but he now set bravely about it to contrive a shattering tragedy that should be, also, a hundred-percent meaningless. As a result of this determination, the first version of The Beautiful and Damned culminated in an orgy of horror for which the reader was imperfectly prepared. Fitzgerald destroyed his characters with a succession of catastrophes so arbitrary that, beside them, the perversities of Hardy seemed the working of natural laws. The heroine was to lose her beauty at a prematurely early age, and her character was to go to pieces with it; Richard Carmel, a writer of promise, was to lose his artistic ideals and prostitute himself to the popular taste; and the wealthy Anthony Patch was not only to lose his money but, finding himself unable to make a living, abjectly to succumb to drink and eventually to go insane. But the bitterest moment of the story was to come at the very end, when Anthony was to be wandering the streets of New York in an attempt to borrow some money. After several humiliating failures, he finally approaches an old friend whom he sees with an elegant lady just getting into a cab. This is the brilliant Maury Noble, a cynic, an intellectual and a man of genuine parts Maury cuts Anthony dead and drives away in the taxi. “But,” the author explains, “he really had not seen Anthony. For Maury had indulged his appetite for alcoholic beverage once too often: he was now stone-blind!” But the point of my story is this: though Fitzgerald had been perfectly serious in writing this bathetic passage, he did not hesitate, when he heard people laugh at it, to laugh about it himself, and with as much surprise and delight as if he had just come across it in Max Beerbohm. He at once improvised a burlesque: “It seemed to Anthony that Maury’s eyes had a fixed glassy stare; his legs moved stiffly as he walked and when he spoke his voice was lifeless. When Anthony came nearer, he saw that Maury was dead.”
To conclude, it would be quite unfair to subject Scott Fitzgerald, who is still in his twenties and has presumably most of his work before him, to a rigorous overhauling. His restless imagination may yet produce something durable. For the present, however, this imagination is certainly not seen to the best advantage: it suffers badly from lack of discipline and poverty of aesthetic ideas. Fitzgerald is a dazzling extemporizer, but his stories have a way of petering out: he seems never to have planned them completely or to have thought out his themes from the beginning. This is true even of some of his most successful fantasies, such as The Diamond as Big as the Ritz or his comedy, The Vegetable. On the other hand, The Beautiful and Damned, imperfect though it is, marks an advance over This Side of Paradise: the style is more nearly mature and the subject more solidly unified, and there art scenes that are more convincing than any in his previous fiction.
But, in any case, even the work that Fitzgerald has done up to date has a certain moral importance. In his very expression of the anarchy by which he finds himself bewildered, of his revolt which cannot fix on an object, he is typical of the war generation—the generation so memorably described on the last page of This Side of Paradise as “grown up to find all gods dead, all wars fought, all faiths in men shaken.” [“…grown up to find all Cods dead, all wars fought, all faiths in man shaken…” This Side of Paradise, p. 304. [A.M.]] There is a moral in The Beautiful and Damned that the author did not perhaps intend to point. The hero and the heroine of this giddy book are creatures without method or purpose: they give themselves up to wild debaucheries and do not, from beginning to end, perform a single serious act; yet somehow you get the impression that, in spite of their fantastic behavior, Anthony and Gloria Patch are the most rational people in the book. Wherever they come in contact with institutions. with the serious life of their time, these are made to appear ridiculous, they are subjects for scorn or mirth. We see the army, finance and business successively and casually exposed as completely without point of dignity. The inference we are led to draw is that, in such a civilization as this, the sanest and most honorable course is to escape from organized society and live for the excitement of the moment. It cannot be merely a special reaction to a personal situation which gives rise to the paradoxes of such a book. It may be that we cannot demand too high a degree of moral balance from young men, however able or brilliant, who write books in the year 1921: we must remember that they have had to grow up in, that they have had to derive their chief stimulus from the wars, the society and the commerce of the Age of Confusion itself.
Edmund Wilson, the American critic, is the author of Patriotic Gore and many other influential books.
Published in The Shores of Light by Edmund Wilson (New York: Vintage Books, 1961); the essay was originally written for The Bookman and published in The Literary Spotlight. Text scanned from F. Scott Fitzgerald: A Collection Of Critical Essays ed. by Arthur Mizener (Englewood Cliffs, NJ: Prentice-Hall, 1963).