Complete Works of F. Scott Fitzgerald (Illustrated) (542 page)

On the college football field men were working with rollers and a title occurred to him: “Turf-keeper” or else “The Grass Grows,” something about a man working on turf for years and bringing up his son to go to college and play football there. Then the son dying in youth and the man’s going to work in the cemetery and putting turf over his son instead of under his feet. It would be the kind of piece that is often placed in anthologies, but not his sort of thing — it was sheer swollen antithesis, as formalized as a popular magazine story and easier to write. Many people, however, would consider it excellent because it was melancholy, had digging in it and was simple to understand.

The bus went past a pale Athenian railroad station brought to life by the blue shirted redcaps out in front. The street narrowed as the business section began and there were suddenly brightly dressed girls, all very beautiful — he thought he had never seen such beautiful girls. There were men too but they all looked rather silly, like himself in the mirror, and there were old undecorative women, and presently, too, there were plain and unpleasant faces among the girls; but in general they were lovely, dressed in real colors all the way from six to thirty, no plans or struggles in their faces, only a state of sweet suspension, provocative and serene. He loved life terribly for a minute, not wanting to give it up at all. He thought perhaps he had made a mistake in coming out so soon.

He got off the bus, holding carefully to all the railings and walked a block to the hotel barbershop. He passed a sporting goods store and looked in the window unmoved except by a first baseman’s glove which was already dark in the pocket. Next to that was a haberdasher’s and here he stood for quite a while looking at the deep shade of shirts and the ones of checker and plaid. Ten years ago on the summer Riviera the author and some others had bought dark blue workmen’s shirts, and probably that had started that style. The checkered shirts were nice looking, bright as uniforms and he wished he were twenty and going to a beach club all dolled up like a Turner sunset or Guido Reni’s Dawn.

The barbershop was large, shining and scented — it had been several months since the author had come downtown on such a mission and he found that his familiar barber was laid up with arthritis; however, he explained to another man how to use the ointment, refused a newspaper and sat, rather happy and sensually content at the strong fingers on his scalp, while a pleasant mingled memory of all the barbershops he had ever known flowed through his mind.

Once he had written a story about a barber. Back in 1929 the proprietor of his favorite shop in the city where he was then living had made a fortune of $300,000 on tips from a local industrialist and was about to retire. The author had no stake in the market, in fact, was about to sail for Europe for a few years with such accumulation as he had, and that autumn hearing how the barber had lost all his fortune he was prompted to write a story, thoroughly disguised in every way yet hinging on the fact of a barber rising in the world and then tumbling; he heard, nevertheless, that the story had been identified in the city and caused some hard feelings.

The shampoo ended. \Vhen he came out into the hall an orchestra had started to play in the cocktail room across the way and he stood for a moment in the door listening. So long since he had danced, perhaps two evenings in five years, yet a review of his last book had mentioned him as being fond of night clubs; the same review had also spoken of him as being indefatigable. Something in the sound of the word in his mind broke him momentarily and feeling tears of weakness behind his eyes he turned away. It was like in the beginning fifteen years ago when they said he had “fatal facility,” and he labored like a slave over every sentence so as not to be like that.

“I’m getting bitter again,” he said to himself. “That’s no good, no good — I’ve got to go home.”

The bus was a long time coming but he didn’t like taxis and he still hoped that something would occur to him on that upper-deck passing through the green leaves of the boulevard. When it came finally he had some trouble climbing the steps but it was worth it for the first thing he saw was a pair of high school kids, a boy and a girl, sitting without any self-consciousness on the high pedestal of the Lafayette statue, their attention fast upon each other. Their isolation moved him and he knew he would get something out of it professionally, if only in contrast to the growing seclusion of his life and the increasing necessity of picking over an already well-picked past. He needed reforestation and he was well aware of it, and he hoped the soil would stand one more growth. It had never been the very best soil for he had had an early weakness for showing off instead of listening and observing.

Here was the apartment house — he glanced up at his own windows on the top floor before he went in.

“The residence of the successful writer,” he said to himself. “I wonder what marvellous books he’s tearing off up there. It must be great to have a gift like that — just sit down with pencil and paper. Work when you want — go where you please.”

His child wasn’t home yet but the maid came out of the kitchen and said:

“Did you have a nice time?”

“Perfect,” he said. “I went roller-skating and bowled and played around with Man Mountain Dean and finished up in a Turkish Bath. Any telegrams?”

“Not a thing.”

“Bring me a glass of milk, will you?”

He went through the dining room and turned into his study, struck blind for a moment with the glow of his two thousand books in the late sunshine. He was quite tired — he would lie down for ten minutes and then see if he could get started on an idea in the two hours before dinner.

EARLY SUCCESS

Seventeen years ago this month I quit work or, if you prefer, I retired from business. I was through — let the Street Railway Advertising Company carry along under its own power. I retired, not on my profit, but on my liabilities, which included debts, despair, and a broken engagement, and crept home to St Paul to ‘finish a novel’.

That novel, begun in a training camp late in the war, was my ace in the hole. I had put it aside when I got a job in New York, but I was as constantly aware of it as of the shoe with cardboard in the sole, during all one desolate spring. It was like the fox and goose and the bag of beans. If I stopped working to finish the novel, I lost the girl.

So I struggled on in a business I detested and all the confidence I had garnered at Princeton and in a haughty career as an army’s worst aide-de-camp melted gradually away. Lost and forgotten, I walked quickly from certain places -from the pawnshop where one left the field-glasses, from prosperous friends whom one met when wearing the suit from before the war - from restaurants after tipping with the last nickel, from busy cheerful offices that were saving the jobs for their own boys from the war.

Even having a first story accepted had not proved very exciting. Dutch Mount and I sat across from each other in a car-card slogan advertising office, and the same mail brought each of us an acceptance from the same magazine — the old Smart Set.

‘My cheque was thirty - how much was yours?’

‘Thirty-five.’

The real blight, however, was that my story had been written in college two years before, and a dozen new ones hadn’t even drawn a personal letter. The implication was that I was on the down-grade at twenty-two. I spent the thirty dollars on a magenta feather fan for a girl in Alabama.

My friends who were not in love, or who had waiting arrangements with ‘sensible’ girls, braced themselves patiently for a long pull. Not I — I was in love with a whirlwind and I must spin a net big enough to catch it out of my head, a head full of trickling nickels and sliding dimes, the incessant music box of the poor. It couldn’t be done like that, so when the girl threw me over I went home and finished my novel. And then, suddenly, everything changed, and this article is about that first wild wind of success and the delicious mist it brings with it. It is a short and precious time - for when the mist rises in a few weeks, or a few months, one finds that the very best is over.

It began to happen in the autumn of 1919 when I was an empty bucket, so mentally blunted with the summer’s writing that I’d taken a job repairing car roofs at the Northern Pacific shops. Then the postman rang, and that day I quit work and ran along the street, stopping automobiles to tell friends and acquaintances about it — my novel This Side of Paradise was accepted for publication. That week the postman rang and rang, and I paid off my terrible small debts, bought a suit, and woke up every morning with a world of ineffable toploftiness and promise.

While I waited for the novel to appear, the metamorphosis of amateur into professional began to take place — a sort of stitching together of your whole life into a pattern of work, so that the end of one job is automatically the beginning of another. I had been an amateur before; in October, when I strolled with a girl among the stones of a southern graveyard, I was a professional and my enchantment with certain things that she felt and said was already paced by an anxiety to set them down in a story - it was called The Ice Palace and it was published later. Similarly, during Christmas week in St Paul, there was a night when I had stayed home from two dances to work on a story. Three friends called up during the evening to tell me I had missed some rare doings: a well-known man-about-town had disguised himself as a camel and, with a taxi-driver as the rear half, managed to attend the wrong party. Aghast with myself for not being there, I spent the next day trying to collect the fragments of the story.

‘Well, all I can say is it was funny when it happened.’ ‘No, I don’t know where he got the taxi-man.’ ‘You’d have to know him well to understand how funny it was.’

In despair I said:

‘Well, I can’t seem to find out exactly what happened but I’m going to write about it as if it was ten times funnier than anything you’ve said.’ So I wrote it, in twenty-two consecutive hours, and wrote it ‘funny’, simply because I was so emphatically told it was funny. The Camel’s Back was published and still crops up in the humorous anthologies.

With the end of the winter set in another pleasant pumped-dry period, and, while I took a little time off, a fresh picture of life in America began to form before my eyes. The uncertainties of 1919 were over - there seemed

little doubt about what was going to happen - America was going on the greatest, gaudiest spree in history and there was going to be plenty to tell about it. The whole golden boom was in the air - its splendid generosities, its outrageous corruptions and the tortuous death struggle of the old America in prohibition. All the stories that came into my head had a touch of disaster in them — the lovely young creatures in my novels went to ruin, the diamond mountains of my short stories blew up, my millionaires were as beautiful and damned as Thomas Hardy’s peasants. In life these things hadn’t happened yet, but I was pretty sure living wasn’t the reckless, careless business -these people thought — this generation just younger than me.

For my point of vantage was the dividing line between the two generations, and there I sat — somewhat self-consciously. When my first big mail came in — hundreds and hundreds of letters on a story about a girl who bobbed her hair - it seemed rather absurd that they should come to me about it. On the other hand, for a shy man it was nice to be somebody except oneself again: to be ‘the Author’ as one had been ‘the Lieutenant’. Of course one wasn’t really an author any more than one had been an army officer, but nobody seemed to guess behind the false face.

All in three days I got married and the presses were pounding out This Side of Paradise like they pound out extras in the movies.

With its publication I had reached a stage of manic-depressive insanity. Rage and bliss alternated hour by hour. A lot of people thought it was a fake, and perhaps it was, and a lot of others thought it was a lie, which it was not. In a daze I gave out an interview - I told what a great writer I was and how I’d achieved the heights. Heywood Broun, who was on my trail, simply quoted it with the comment that I seemed to be a very self-satisfied young man, and for some days I was notably poor company. I invited him to lunch and in a kindly way told him that it was too bad he had let his life slide away without accomplishing anything. He had just turned thirty and it was about then that I wrote a line which certain people will not let me forget: ‘She was a faded but still lovely woman of twenty-seven.’

In a daze I told the Scribner Company that I didn’t expect my novel to sell more than twenty thousand copies and when the laughter died away I was told that a sale of five thousand was excellent for a first novel. I think it was a week after publication that it passed the twenty thousand mark, but I took myself so seriously that I didn’t even think it was funny.

These weeks in the clouds ended abruptly a week later when Princeton turned on the book — not undergraduate Princeton but the black mass of faculty and alumni. There was a kind but reproachful letter from President Hibben, and a room full of classmates who suddenly turned on me with condemnation. We had been part of a rather gay party staged conspicuously in Harvey Firestone’s car of robin’s egg blue, and in the course of it I got an accidental black eye trying to stop a fight. This was magnified into an orgy, and in spite of a delegation of undergraduates who went to the board of Governors, I was suspended from my club for a couple of mondis. The Alumni Weekly got after my book and only Dean Gauss had a good word to say for me. The unctuousness and hypocrisy of the proceedings was exasperating and for seven years I didn’t go to Princeton. Then a magazine asked me for an article about it, and when I started to write it, I found I really loved the place and that the experience of one week was a small item in the total budget. But on that day in 1920 most of the joy went out of my success.

But one was now a professional - and the new world couldn’t possibly be presented without bumping the old out of the way. One gradually developed a protective hardness against both praise and blame. Too often people liked your things for the wrong reasons or people liked them whose dislike would be a compliment. No decent career was ever founded on a public and one learned to go ahead without precedents and without fear. Counting the bag, I found that in 1919 I had made $800 by writing, that in 1920 I had made $18,000, stories, picture rights, and book. My story price had gone from $30 to $1,000. That’s a small price to what was paid later in the Boom, but what it sounded like to me couldn’t be exaggerated.