Scott Fitzgerald's women: a view of the flapper as a projection of the author's anima

S C OTT F I T Z G E R A L D ' S W O M E N - - A V I E W OF T H E F L A P P E R A S A P R O J E C T I O N OF T H E A U T H O R ' S A N I M A T e s e S u b m e t i d a à U n i v e r s i d a d e F e d e r a l de S an t a C a t a r i n a P a r a a O b t e n ç ã o do G r a u de M e s t r e em Le t r a s M A R T A E L I Z A B E T E Z A N A T T A F l o r i a n ó p o l i s S a n t a C a ta r i n a , B r a si l D e z e m b r o 19 7 9

Esta tese foi j u l g a d a a d e q u a d a p a r a a o b t e n ç ã o do g r a u de

- M E S T R E - E M L E T R A S -

o p ç ão Ing l ê s e L i t e r a t u r a C o r r e s p o n d e n t e e a p r o v a d a em sua f or m a f i n al p e l o P r o g r a m a de P o s - G r a d u a ç ã o da UFSC. P r o f . ^Hügh O r i e n t a d o r Fox, Ph.D. Prof. H i l á r i o I na c i o B o h n , Ph.D. . C o o r d e n a d o r de P o s - G r a d u a ç ã o em Inglês e L i t e r a t u r a Cor-respondente A P R E S E N T A D A P E R A N T E A B A N C A E X A M I N A D O R A C O M P O S T A P E L O S P R O F E S SO RE S: P r o f V í i ^ h B^rAà?tí Fox Ph.D,

Proí^ J o h n B ruce Der r i c k , Ph.D.

A G R A D E C I M E N T O S

A I n t e g r a d o r i a e aos p r o f e s s o r e s do P r o g r a m a de P 5 s - G r a d u a ç ã o em L e t ra s da UFSC, o p ç ã o Ingles e L i t e r a t u r a C o r r e s p o n d e n t e , p e l o s e n s i n a m e n t o s e apoio.

Ao Prof. Dr. Hu g h B e r n a r d Fox, o r i e n t a d o r e amigo, que m e a j u d o u e i n c e n t i v o u m u i t o d u r a n t e o d e s e n v o l v i m e n t o d e s t a tese. A o Prof. Dr. J o h n B ru c e D e r r i c k , p e l a c o l a b o r a ç ã o e a t e n ç ã o e s p e c i a l que s e m pr e d e m o n s t r o u p o r es t e trabalho. A o p r o f e s s o r e a m i go Jo s e Luiz M e u r e r , p o r g r a n d e p a r t e da b i b l i o ­ g r a f i a obtida. A D e l e g a c i a R e g i o n a l do T r a b a l h o ^ p e l o v a l i o s o a u x í l i o que m e foi p r e s t ad o.

Aos m e u s pais e ãs m i n h a s irmãs p e l o a p o i o e p a c i ê n c i a que t i v e r a m c o m i g o em t o d o este p eríodo.

A t o d o s - q u e , d i r e t a ou i n d i r e t a m e n t e , c o n t r i b u í r a m p a r a a r e a l i - 'zação d e s t a d i s s e r t aç ão .

T A B L E OF C O N T E N T S C h a p t e r One: I N T R O D U C T I O N ... 1 1.1 S t a t e m e n t of P u r p o s e . ... . . . 1 1.2 R e v i e w of C r i t i c i s m . . . ... .. M C h a p t e r Two: W O M E N O U T S I D E F. SCOTT F I T Z G E R A L D ' S F I C T I O N . . 19 2.1 M o l l i e , his miother ... 19 2.2 G i n e v r a King, a girl, f r i e n d ... . 2 4 . 2.3 Z e l d a Sayre, his v;ife ... .. 27

2.4 F r a n c e s Scott F i t z g e r a l d , his d a u g h t e r . . ... 55

2.5 S h e i l a h G r a h a m , his last lo v e a f f a i r ... 69

C h a p t e r Three: W O M E N IN F. SCOTT F I T Z G E R A L D ' S FICTION: F L A P P E R S ... 8 6 3.1 The P o s i t i v e Side of the F l a p p e r ... 93

3.2 The N e g a t i v e Side of the F l a p p e r ... .. 110

C h a p t e r Four: T H E W O M A N I N S I D E 'f . S C OTT F I T Z G E R A L D . . . . 137

4.1 Scott F i t z g e r a l d , a r o m a n t i c ... .. 137

4.2 Scott F i t z g e r a l d , a "male f l a p p e r " . . . ... .. 144

4.3 Scott F i t z g e r a l d and his a n i m a ... .. ...156

C O N C L U S I O N ... ... 168

A B S T R A C T

W o m e n alw a y s p l a y e d a s i g n i f i c a n t r o l e in F. Scott F i t z ­ g e r a l d ' s life as w e l l as in all his l i t e r a r y p r o d u c t i o n . T he y a p p e a r e v e r y w h e r e w i t h r e c u r r e n t c h a r a c t e r i s t i c s , and t h e s e c h a r a c t e r i s t i c s fo r m a p r o t o t y p e in l i t e r a t u r e : the flapper. The. p r e s e n t t h es is r e v i e w s the i n f l u e n c e e x e r t e d u p o n S c ott by th e w o m e n who w e r e c l o s e s t t o h i m in life ( m a i n l y his m o t h e r and his w i f e) , so th a t we can e x p l a i n his f e m i n i n e self, w h i c h r e ­ v e a l s " h e r s el f" t h r o u g h his h e r o i n e . His f l a p p e r has a p o s i t i v e and a n e g a t i v e side a n d , . t o i l l u s t r a t e that, we a n a l y s e his m a i n f e m a l e c h a r a c t er s: G i n e v r a King in This Side of P a r a d i s e , G l o r i a G i l b e r t in The B e a u t i f u l a n d D a m n e d , D a i sy Fay in The G r e a t

G a t s b y and N i co le W a r r e n in T e n d e r is the N i g h t . A l l t h e s e w o m e n can m a k e t h e i r lovers h ap p y , but t he y can m a k e t h e m unhappy, too. W h e n we t al k a b o ut the f l a p p e r ' s g o o d ve r s u s b a d side, we al s o e m p h a s i z e the p r o g r e s s i v e d i s i l l u s i o n m e n t S cott v;ent t h r o u g h , his b e i n g pro-^flapper in t h e b e g i n n i n g and a n t i - f l a p p e r at t h e e n d of his career.

Scott F i t z g e r a l d w r o t e a b o u t the f l a p p e r b e c a u s e he i d e n t i ­ f i e d him.self w it h this t yp e of woman. S om e t i m e s he felt h i m s e l f like a fla p p e r , and he c o u l d e v e n p o r t r a y his m a l e c h a r a c t e r s as fl a p p e r s .

Scott F i t z g e r a l d w a s a r o m a n t i c m a n viith a f e m i n i n e side w h i c h he c o u l d not h i d e; the a n i ma he h a d i n s id e h i m was s t r o n g and v e r y alive. If we w a n t to u n d e r s t a n d his r e l a t i o n s h i p w i t h w om e n , o u t s i d e or i n s i de his f i c t i o n , we c a n n o t put S c o tt's a n i m a a s i d e . .

R E S U M O As m u l h e r e s s e m p r e t i v e r a m u m p a p e l s i g n i f i c a t i v o t a n t o na v i d a q u a n t o na p r o d u ç ã o l i t e r ã r i a de F. Scott F i t z g e r a l d . Elas a p a r e c e m em t o d os os lugares, com c a r a c t e r í s t i c a s r e c o r r e n t e s , e e s tas c a r a c t e r í s t i c a s f o r m a m u m p r o t o t i p o n a l i t e r a t u r a : a m u l h e r "flapper".^ A p r e s e n t e te s e e x a m i n a a i n f l u ê n c i a e x e r c i d a so bre S co t t p e l a s m u l h e r e s q u e e s t a v a m ma i s p e r t o d e l e d u r a n t e sua v i d a ( p r i n c i p a l m e n t e s u a m ã e e s u a e s p o s a ), dé m o d o que p o s ­ samos e x p l i c a r o seu la d o f e m i n i n o , . o q u a l se r e v e l a a t r a v é s de sua h er oi n a . Sua " f la p p e r " t e m u m lado p o s i t i v o e o u t r o n e g a t i ­ vo, e, p a r a i l u s t r a r isto, a n a l i s a m o s as suas p r i n c i p a i s p e r s o n a ­ ge n s f e m i n i n a s : G i n e v r a Ki n g em This Side of P a r a d i s e G l o r i a

G i l b e r t em The B e a u t i f u l a n d D a m n e d , D a i s y Fay e m The G r e a t G a t s b y , and N i c o l e W a r r e n em T e n d e r is t h e N i g h t . T o das essas m u l h e r e s p o d e m f a z e r os seus h o m e n s f e li z e s , m a s t a m b e m p o d e m f a z ê - l o s i nf el i z e s . Q u a n d o f a l a mo s s o b r e o la d o b o m ve r s u s o l ad o m a u da "fl a p p e r " , e n f a t i z a m o s a d e c e p ç ã o p r o g r e s s i v a que S c o t t s o f r e u com e l a ,- O U seja, o f a t o d e ele s e r "pro-f l a p p e r " no. c o me ço e " a n t i - f l a p p e r " no f i n a l de sua carreira.

Scott F i t z g e r a l d e s c r e v i a s o br e a " f l ap pe r" p o r q u e ele se

i d e n t i f i c a v a com este t ip o de m ul h e r . As v e z es ele p r o p r i o s e n t i a - se como u m a " f l a pp er ", e p o d i a ate m e s m o r e t r a t a r seus h e r o i s co m o tal.

F i t z g e r a l d era u m h o m e m r o m â n t i c o , e t i n h a u m lado f e m i n i n o que ele n ã o c o n s e g u i a e sc o n d e r ; a "anim.a" que ele t i n h a d e n t r o de si e r a f o r t e e m u i t o viva. Se q u i s e r m o s e n t e n d e r o seu r e l a ­ c i o n a m e n t o com as m u l h e r e s , f o r a e d e n t r o d a sua ficç ã o , nos não p o d e m o s d e i x a r de la d o a " an i m a " de F. Scott F i t z g er al d.

1.1. S t a t e m e n t of P u r p o s e

Si nce m y f i r s t r e a d i n g of F r a n c i s S cott Key F i t z g e r a l d I was f a s c i n a t e d by his style, by his t h e m e s and b y the v i v i d n e s s of w ha t he w r o te , and later, w h e n I h a d to c h o o s e a s u b j e c t for m y M.A. t he s i s , I c o u l d n ' t h e l p c h o o s i n g him. T h o u g h t h e y b e l o n g to t h e t we n t i e s , h i s w r i t i n g s t o u c h me deeply. , His t h e m e s a n d st y l e , he and Zelda, are s ti l l t r e m e n d o u s l y alive.

Scott F i t z g e r a l d was o n e of the m o s t c e l e b r a t e d w r i t e r s of h i s time, and his w o r k e m e r g e s f r o m a f e l i c i t o u s c o m b i n a t i o n of l i t e r a r y and life styles.

E v e r y t h i n g in his b o o k s seems to h a v e b e e n a l r e a d y e xp l o r e d , b u t t he t r u th is t ha t m a n y s t u di es of his n o v el s a n d s ho r t s to r i e s t e n d to be r e d u n d a n t , a n d m a n y a sp e c t s h a v e b e e n far t o o analy s e d . C r i t i c s say that in t h e last y e a rs " r e l a t i v e l y few new t h e s e s h av e b e e n a d v a n c e d and v e r y f e w n e w a p p r o a c h e s h a v e b e e n a t t e m p t e d , " ^ a n d some of t he s e c r i t i c s f a v o u r the p o s i t i o n th a t the e mp ha s i s s h o u l d s hi f t f r o m a p r e o c c u p a t i o n w i t h S c ott the m a n - - l e g e n d , m y t h - - t o S cott the w r i ter. Life and art are not the same. H o w ­ ever, w e all k n o w th a t S co t t ' s r e a l life is i n e x t r i c a b l y ,b o u n d up w i t h his work, we all k n o w that he b a s e d all h i s w r i t i n g o n h i s own e x p e r i e n c e ; we a l l k n o w t ha t "just as h i s life i l l u m i n a t e d

t a t i o n .

By the r e a d i n g of S c o t t ' s f i v e n o v e l s , some s h o r t s t o r i e s (I w i l l not a n a l y s e the short s t o r i e s in this t h e si s) , b i o g r a p h i e s , an d a l l t h e c r i t i c i s m I c o u l d get, I r e a l i z e d that- t h e r e is s o m e ­ t h i n g v e r y p e c u l i a r in the w a y h e p o r t r a y s his c h a r a c t e r s . W h e n we r e a d his n o v e l s we h a v e the f e e l i n g th a t his m a l e c h a r a c t e r s are m o r e i m p o r t a n t t h a n the f e m i n i n e ones, but, u p o n f u r t h e r a na l y s i s , we f i n d out that the o p p o s i t e is true.

.In FitzgeraldJ the p o w e r of i n d e p e n d e n t w i l l r e s t s in the h a n d s not of the m a l e , b ut of the female. No m a t t e r h o w d a r i n g a nd a rd u o u s the t a s k p e r f o r m e d b y the h e r o , c o n t r o l ov e r h i s d e s t i n y r e m a i n s w i t h t h e girl. As a r e s u l t , the y o u n g m e n in F i t z g e r a l d ' s co.nventional g e n t e e l s t o r i e s are v a g ue , r a t h e r s h a d o w y f ig u r e s , ev e n if t he y a l wa ys w i n the g i r l ' s love; w ha t interest- and e x c i t e m e n t t h e r e is in t he s to r i e s is a lw a y s g e n e r a t e d by the f l a p p e r h er o i n e .

The w o m a n l e ads the m a n to his u l t i m a t e fate; t h e - w o m e n p l a y v e ry i m p o r t a n t r o l e s - - a n d th i s is e x a c t l y w h a t i n t er es ts m e in Scott: w hy d oe s he e m p h a s i z e the w o m a n i n s t e a d of the m a n ? W h a t k i n d of w o m e n are his h e r o i n e s ? W ha t is his a t t i t u d e t o w a r d t h e m - - i s it the same d u r i n g h is w h o l e life? Does he h a v e a fem.inine m ind, an a n i m a i n s i d e h i m ? H o w are his m a l e c h a r a c t e r s f e m i n i n e ? H o w are his h er o e s and h e r o i n e s p r o j e c t i o n s of h i m s e l f , of h i s a n i m a ?

D e s p i t e t h e i r e v i d en t i m p o r t a n c e , S co t t ' s f e m i n i n e c h a r a c ­ ters h a v e often b e e n put a s i de b y the c r i t i cs ; th e y are not c o m ­ m e n t e d u p o n v e r y m u c h, as his m a l e c h a r a c t e r s are. I a g r e e w i t h some c r i t i c s w h e n t h e y say t ha t w o m e n in F i t z g e r a l d are n o t f u l l y d e v e l o p e d - - a s th e y c o u l d h a v e b e e n - - b u t I t h i n k t h a t t h e y d e s e r v e a m o r e d e t a i l e d study, w h i c h has not b e e n v e r y common. Of c o u r s e some c r i t i c s deal e i t h e r w i t h Z e l d a or w i t h S co t t ' s m o s t f a m o u s

F i t z g e r a l d ' s own f e m i n i n i t y , b ut n o one has c a r ried the s u b j e c t f u r t h e r t h a n that and no one has t r i e d ' t o a n a l y s e his i nn e r self, h is anima.

T hus, m y m a i n p u r p o s e h e r e is to p r o v i d e , if not a c o m p l e t e ­ ly new, at l e a s t a m o r e d e t a i l e d view, of S c o t t ' s w o m e n , a l s o t r y i n g to d i s c o v e r a n d a n a l y s e the f e m i n i n e side of the a u t h o r him s e l f .

The w o r k h a s b e e n d i v i d e d into f o u r c h a p t e r s , ea c h one h a v i n g s u b d i v i s i o n s , as f ollows; In the f i rst c h a p t e r I w i l l s tate m y p u r p o s e in w r i t i n g this t h es is , the p r o b l e m s I i n t e n d to ana l y s e , and a l s o w h a t some c r i t i c s h a v e s ai d a bo u t S co t t F i t z g e r a l d .

The s e c o n d c h a p t e r . w i l l be c o n c e r n e d w i t h the w o m e n w h o w e r e p ar t of F i t z g e r a l d ' s r e a l l i f e - - o u t s i d e h i s f i c t i o n . H e r e I

in t en d t o c o n c e n t r a t e on his r e l a t i o n s h i p w i t h the w o m e n w h o w e r e c l o s e s t and m os t i m p o r t a n t to h i m t h r o u g h o u t h i s 'entire life, wh a t k in d of w o m e n t h e y w e r e a n d h o w t h e y i n f l u e n c e d him: M o l l i e his m o t h e r , G i n e v r a King, his f ir s t g i r l f ri e n d , Z e l d a Sayre, his w i fe, F r a n c e s , h i s d au g h t e r , a n d S h e i l a h G r ah am , h i s last love affair. He "used" all t he s e w o m e n in his f i c t i o n in one w a y or a n o t h e r , w h i c h is w h y we h av e to t r y to u n d e r s t a n d t h e m in o rd er to u n d e r s t a n d the a u t h o r and the f i c t i o n itself.

In the t h i r d c h a p t e r I w i l l de a l m a i n l y v?ith 'women in S c ot t' s fiction. T h e r e I w il l , at fir s t , a n a l y s e the p o s i t i o n of the w o m e n in the t w e n t i e s ; F i t z g e r a l d ' s o w n vi e w of t h e m at that time; the h e r o i n e h e c r e a t e d b a s e d on t h o s e w o m e n - - t h e

s i o n m e n t led m e to s u b d i v i d e c h a p t e r t h r e e i n t o t w o s e c ti on s: t he f i r s t t a l k i n g a b o u t "The P o s i t i v e Side of the F l a p p e r , " w h e r e

1 w i l l t r y to shovj t h r o u g h t h e m a i n f e m i n i n e c h a r a c t e r s ( R o s a l i n d , G lo r i a , and Dai s y , r e l a t i n g t h e m b a c k to Z e l d a and G i n e v r a ) the p o s i t i v e a s pe ct s of b e i n g a f la p p e r , h o w th e y are a s s o c i a t e d w i t h the "good" life, w i t h r i c h a n d b e a u t i f u l t h i n g s, and h o w t h e y can l e a d m e n to h a pp i n e s s . H er e w o m e n share m e n ' s i l l u s i o n s and

s u b l i m a t e , e l e v a t e , and r e f i n e them. In the o t h e r s e c t i o n , "The N e g a t i v e Side of the F l a p p e r , " I i n t e n d to s h o w w o m e n as the

sy m b ol of ev i l and c o r r u p t i o n , t h e i r p o w e r to l e a d m e n to d e s t r u c ­ t i o n and u n h a p pi ne s s. T h e s e a r e the fatal, " v a mp ir e" w om e n , c o l ­

l a b o r a t i n g in t h e i r m e n ' s decay: Z e lda in S c o t t 's , G l o r i a in A n t h o n y ' s , D a i s y in G a t s b y ' s , and N i c o l e in D i c k ' s . M y f o u r t h c h a p t e r w i l l co m e b a c k to t h e a u t h o r ' s l i f e a n d it w i l l be c o n c e r n e d w i t h t h e a n a ly s i s of S c ot t' s own f e m i n i n e c h a r a c t e r i s t i c s . I n c l u d i n g his f i c t i o n, h e r e I w i l l d e v e l o p the fa c t th a t h i s m a l e c h a r a c t e r s t h e m s e l v e s e m e rg e as r o m a n t i c s and f l a p p e r s , a c c o r d i n g to S co t t ' s o w n t e n d e n c i e s , w h i c h c a n b e e x p l a i n e d t h r o u g h J u n g ' s t h e o r y a b o u t the p ersona. 1.2. R e v i e w of C r i t i c i s m

S co t t F i t z g e r a l d ( 1 89 6- 1 9 4 0 ) was p r o b a b l y one of the m o s t d o c u m e n t e d w r i t e r s of h i s time. He k e p t r e c o r d s of h i s o w n life an d of the p e o p l e vjho s u r r o u n d e d him. He was the s u b j e c t of m a n y e s s a ys , a rt i c l e s , i n t e r v i e w s , e d i t o r i a l s , and h e f r e q u e n t l y

b e h a v i o r , as w e l l as for the t h e m e s of h i s w ri t i n g s .

D u r i n g h i s last y e ar s h e was not t h e s u b j e c t of m u c h s e r i o u s c o m m e n t b e c a u s e of his f i n al decay, b u t s t i l l he was t a l k e d about, and his r e p u t a t i o n as a goo.d w r i t e r has i n c r e a s e d s i n c e then,

and ea c h year t h e re is a s t r e a m of c r i t i c a l c o m m e n t s t i l l t u r n i n g u p .

A m o n g m a n y b i o g r a p h i e s a b o u t F i t z g e r a l d , the b es t on e s are t h o s e w r i t t e n by A r t h u r M i z e n e r - - The Far Side of P a r a d i s e - - a n d by A n d r e w T u r n b u l l — S cott F i t z g e r a l d - - e a c h one e m p h a s i z i n g a d i f f e r e n t a s p e c t of t h e same theme.

A r t h u r M i z e n e r , . . a ch ie ve s an e f f e c t i v e b a l a n c e b e t w e e n a d e t a i l e d and c l o s e l y d o c u m e n t e d a c c o u n t of F i t z g e r a l d ' s . life . . . and c o n v i n c i n g a n a l y s e s of v i r t u a l l y all his

w o r k s .4

On the o t h e r h and, " T u r n b u l l ' s f ocus is on F i t z g e r a l d ' s p e r s o n a l i ­ ty; h i s a i m is to g e t b e y o n d the n o v e l s and s t o r i es to the m a n h i m s e l f . " ^

Z e l d a is a b i o g r a p h y o f S c o tt's w i f e w r i t t e n b y N a n c y M i l f o r d , w h o t h o u g h t th a t "the pa r t t h a t Z e l d a S c ott F i t z g e r a l d p l a y e d in h e r h u s b a n d ' s life and w o r k s can h a r d l y be u n d e r e s t i ­ m a t e d . " ^ Z elda h a d r e m a i n e d a s h a d o w y f i g u r e u n t il then, and this b i o g r a p h y p r o v i d e s us w i t h a n e w i n s i g h t into h e r life as w e l l as in t o F i t z g e r a l d ' s o w n life, s i nce it is a w o m a n w h o a n a l y s e s the s u b j e c t a n d not a man, as p r e v i o u s l y h a d b e e n the rule. H e r e we f i n d out e v e r y t h i n g a b o u t h e r life since she was a child, h e r " c a r e e r " as a fl a p p e r , h e r m a r r i a g e to Scott and h e r d e s p e r a t e e f f o r t s t o w r i t e Save Me the Waltz. In g e n e r a l I w i l l

T u r n b u l l also edited. The L e t t e r s of F. S c ott F i t z g e r a l d , in w h i c h he c o m p i l e d the lett e r s Scott w r o t e to the p e o p l e w h o were, c l o s e s t and m o s t i m p o r t a n t to him, for exam.ple: to F r a n c e s , h is d a u g h te r , to Zelda, to E r n e s t H e m i n g w a y and E d m u n d W i l s o n , his

l i t e r a r y f riends, to H a r o l d Ober, his e d i tor, and to m a n y others. On the f ront f l a p of this b o o k we h a v e the f o l l o w i n g c o m m e n t :

This b o o k b ri n g s t o g e t h e r for the f i rst t i m e a w i d e s e l e c ­ t i o n of S c o t t F i t z g e r a l d ' s l e t t e r s - - p r o b a b l y the m o s t i n t e r e s t i n g , open, a n d a p p e a l i n g l et t e r s in A m e r i c a n l it e r a r y story. T h e y a d m i t us to the t e n s i o n a n d d r a m a of F i t z g e r a l d ' s p r i v a t e life. A n d his life as a w r i t e r is f ul l y h e r e too.7

F i t z g e r a l d ' s letters t o his d a u g h t e r are the m o s t t o u c h i n g and i n t e r e s t i n g b e c a u s e they i l l u m i n a t e t h e i r r e l a t i o n s h i p , w h i c h w i ll be one of m y c o n c e r n s in the p r e s e n t thesis. T he y p r o v i d e the r e a d e r w i t h c o n c r e t e d a t a a b o u t S c o t t ’s h e r o i n e s , the

fl a p pe rs .

F. S c ott F i t z g e r a l d In His Own Time: A M i s c e l l a n y , e d i t e d by M a t t h e w J. B r u c c o l i and J a c k s o n R. Bryer, is 'divided i n t o two sections, and "both s ec ti on s are r e s t r i c t e d to m a t e r i a l p u b l i s h e d by (poems, essa y s , r e vi e w s , l etters) or a bout F i t z g e r a l d (revi e w s , e d i t o r i a l s , i n t e r v ie ws ) w h i l e h e vjas l i v i n g - - w i t h the e x c e p t i o n

g

of the o b i t u a r i e s . " The p u r p o s e of this m i s c e l l a n y is "to f a c i l i t a t e the u n d e r s t a n d i n g o f F i t z g e r a l d ’s r e p u t a t i o n in his

9

own t i m e , " and t h i s is w h at m a k e s it v er y i nt er es ti ng .

A l f r e d K a z in c o l l e c t e d t h i r t y e s s a ys a b o u t F i t z g e r a l d in his F. S co t t F i t z g e r a l d , The Man' a n d His W o r k . H e r e we h a v e s e v e r a l a ut h o r s su c h as G e r t r u d e Stein, ,Paul R o s e n f e l d , J o h n

A r t h u r M i z e n e r a l s o e d i t e d a c o l l e c t i o n of c r i t i c a l e s s a ys a b o u t F. Scott F i t z g e r a l d , and it is d i v i d e d in t o t h r e e s e c t i o n s , each one a n a l y s i n g a d i f f e r e n t aspect: his career, his e a r l y w o r k a nd his late work. As a wh o l e , c o m m e n t s on The G r e a t G a t s b y o c c u ­ py a c o n s i d e r a b l e p ar t of the b oo k , b u t his o t h e r novels h a v e a l s o d e s e r v e d some a t t e n t i o n b y the critics. Le s l i e F ie dl er , E d m u n d W i l s o n , J a me s E. M i l l e r , M a l c o l m C o w l e y and W i l l i a m T r o y are s o m e - o f the i m po r t a n t c r i t i c s w h i c h M i z e n e r puts t o g e t h e r in this book.

T e n d e r is The Night: E s s a ys in C r i t i c i s m was e d i t e d b y M a r ­ vin J. L a H o o d b a s e d on his id e a th a t this n o v e l was one of t h e f i n e st A m e r i c a n n o v e l s of the t h i r t i e s and F i t z g e r a l d ' s b e s t and m os t p r o f o u n d work. L a H o o d f o u n d this n o v e l v e r y c o m p l i c a t e d

an d that is w h y h e c o l l e c t e d the o p i n i o n s of m a n y c r i t i c s in o r d e r to c l a r i f y it and h e l p the r e a d e r to u n d e r s t a n d it b et t e r . T h e s e c r i t ic s are., for i n s t a n c e , J o h n K u e h l , Kent and G r e t c h e n K r e u t e r , Eugene Whi t e , etc.

R o b e r t S klar w r o t e F. Scott F i t z g e r a l d , The Last L a o c o 5 n , w he re he m a k e s s e v e ra l sorts of c o m me n t s a b o ut the a u t h o r a n d his work. He m e n t i o n s some w ri t e r s w h o i n f l u e n c e d F i t z g e r a l d and .1 t h i n k t hi s a s p e c t is ve r y i mp o r t a n t , t h o u g h I h.ave not f o u n d it in any o t h e r book. S kl a r a l s o a n a l y s e s all of S c o tt's five

n ov e l s , m a n y s hort s t ories, his c a r e e r in g e n e r a l and his f r i e n d ­ ship w i t h H em i n g w a y . The b a s i c i de a t ha t d ev e l o p s t h r o u g h t th i s b o o k is t h a t S cott was a r o m a n t i c w h o w r o t e a bo u t the " g e n t e e l

As the p r e s e n t t h e s i s is a l s o c o n c e r n e d w i t h S c o t t ’s life, I got u s e f u l c o mm en t s a b o u t Scott, H e m i n g w a y ' s o p i n i o n a b o u t him, and Zelda, in A M o v e a b l e F e a s t , by E r n e s t H e m d n g w a y , a n d m u c h that h e l p e d m e to u n d e r s t a n d F i t z g e r a l d ' s f e m i n i n e side.

K e n n e t h E. E b l e ' s s i m p l y ,c h r o n o l o g i c a l F. Scott F i t z g e r a l d d e a l s w i t h S c o t t ' s life and w r i t i n g s in g e n e r a l , p l a c i n g the m a i n f o c u s on his s h o r t stories. Eb l e says th a t in this b o o k

the c h a p t e r s are not s e p a r a t e e s s a y s on i n d i v i d u a l w o r k s , but p a r t s of a c o n f i n u o u s n a r r a t i v e d e s i g n e d to b r i n g out ■the d e f i n i n g c h a r a c t e r i s t i c s of F i t z g e r a l d ' s vjriting.l^

As I h a v e a l r e a d y sa i d in m y S t a t e m e n t of Pu r p o s e , the a r e a I i n t e n d to a n a l y s e in this t h e s i s is F i t z g e r a l d ' s f e m a l e

c h a r a c t e r s and the f e m i n i n e a s p e c t s of the a u t h o r h i m s e l f . Al ­ t h o u g h c r i t i c s have, n o t s p e c i f i c a l l y a n a l y s e d this s u b j e c t , or e x p a n d e d it, th e y h a v e m a d e som.e- g e n e r a l r e m a r k s w h i c h are

■closely r e l a t e d to m y theme. Eble, f o r e x a m p l e , c l e a r l y r e f e r s to the p r o b l e m of b e a u t y v e r s u s e v i l in F i t z g e r a l d :

F i t z g e r a l d ' s a t t i t u d e t o w a r d s b e a u t y o f t e n t i m e s seems m o r a l i s t i c ; c o r r u p t i o n dw e l l s w i t h b e a u t y ; ev i l hides- i t s e l f there. The e q u a t i o n of b e a u t y w i t h sin a p p e a rs in m a n y stories.

A n o t h e r c r i t i c says t ha t "for F i t z g e r a l d ,t h e r e was a l w a y s a t o u c h of d i s a s t e r , or t h e f e a r of it, in his b r i g h t y o u n g w o m e n

12

w i t h t h e i r p r e t t y f a c e s . " L i o n e l T r i l l i n g adds: " h i s tragic-h e r o is d e s t r o y e d by the v e r y t hi n g that g iv e s h i m his s p i r i t u a l

13

status and stature'- - -and this "thing" is his b e l o v e d woman. B a s e d on i d eas like t h o s e above, I h a v e come to the c o n c l u ­ s i o n th a t c r i t i c s in g e n e r a l h a v e d i v e r g e n t o p i n i o n s a b o u t S c o t t ’s

a l m o s t a ll his f e m a l e c ha r a c t e r s . I say Z e l d a was his " m o de l" b e c a u s e this does not m ea n th a t h i s f i c t i o n a l w o m e n are e x a c t l y like h er ; t h e y s o m e t im e s m a y h a v e a s t r o n g r e s e m b l a n c e to her, a nd s o m e t i m e s t h ey m a y resem.ble h e r just faintly. A n y w a y , we

can r o u g h l y p l a c e t h e s e c r it i c s w h o "judge" Z e l d a a n d S c o t t ’s f e m i n i n e c h a r a c t e r s into tvjo g ro u p s : one of p e o p l e who, m o s t of t he time, are f a v o r a b l y i m p r e s s e d b y Z e l d a and S c o t t ' s h e r o i n e s , a n d one of the p e o p l e who, m o s t of the time, are a g a i n s t t h e i r b e h a v i o r in life a n d fiction.

W i t h i n the f i r s t g r o u p we find, for e x a m p l e , M i z e n e r , F i t z g e r a l d ' s be s t b i o g r a p h e r , w h o says a b o u t Zelda, "T h e r e is a d e s p e r a t e and m o v i n g h e r o i s m a b o ut the w a y she w e n t on s t r u g g l i n g to r e a l i z e the self that m a t t e r e d to her. If she c o u l d not d a nce

13

she c o u l d w r i t e . " M i z e n e r a d m i r e s Z el d a ' s s t r e n g t h of c h a r a c t e r a n d h e s up p o r t s her. A t the sa m e time he b l a m e s F i t z g e r a l d ,

s a y i n g th a t he was j e a l o u s of h e r efforts: . . . t h e y q u a r r e l e d o v e r h e r d a n ci n g , for t here w a s s om e d r i ve in F i t z g e r a l d to d e s t r o y h e r c o n c e n t r a t i o n . He a p p e a r e d u n ab le to e n d u r e Z e l da 's s u c c e s s f u l - - i f n e u r o t i c - - d i s p l a y of w i l l w h e n he felt th a t s e l f - i n d u l g e n c e a n d d i s c i p l i n e w e r e r u i n i n g h i m , 14 B e s id es t h a t i n t e n s e j e a l o u s y on S c o t t 's p a rt, M i z e n e r a l s o t a lks a bo ut 'the c o n t i n u a l d r i n k i n g , w h i c h m a d e h i m _ b e c o m e m o r e d i f f i ­ cult t h a n he u s u a l l y was,

B r o o m f i e l d also d e f en ds Zel d a , a nd also finds Scott guil t y : ", , , she was led on to a t r a g i c e n d only b e c a u s e h e c o u l d not s to p a n d in d e s p a i r she f o l l o w e d him, , .

M a t t h e w J. B r u c c o l i t al k s a b o u t Save Me The W a l t z as w r i t -16 t e n b y "a b r a v e a n d t a l e n t e d w o m a n , " a n d he d e f i n i t e l y r e f u s e s to a c c e p t H e m i n g w a y ' s a t t a c k on Zelda: Th a t she c o m p e t e d w i t h h e r h u s b a n d for a t t e n t i o n a n d e ve n t r i e d to r i v a l h i m t h r o u g h h e r p a i n t i n g , vjriting, and d a n c ­ ing is clear. But that she d e l i b e r a t e l y a n d consistently- t r i e d to d e s t r o y F i t z g e r a l d ' s c a r e e r by m a k i n g it i m p o s s i b l e for h i m to w ork, as E r n e s t H e m i n g w a y c h a r g e s . . . is less clear.

Van V e t c h e n says Z e l d a was "an o r i g i n a l , " a n d S a r a M a y f i e l d , in h e r E x i l e s f r o m P a r a d i s e : Z e l d a and Scott F i t z g e r a l d , p ut s all the b l a me on F i t z ge r al d. Some c r i t i c s th i n k , h o w e v e r , t h a t M a y ­ f i e l d c ar r i e s h e r d e f e n s e o f Z e l d a t o o far, and that h e r a n a ly si s:

is u s e l e s s because she. is so d e t e r m i n e d to e x o n e r a t e Z e l d a of m o s t of the blam.e for w h a t b e f e l l the F i t z g e r a l d s and to p l a c e a g r e at de a l of it o n S c o t t . This leads h e r to

r i d i c u l o u s a s s e r t i o n s such as t h a t Z e l d a m a r r i e d S c o tt not b e c a u s e she was in love w i t h h i m "in a r o m a n t i c w a y , " b u t b e c a u s e "she felt it was h e r m i s s i o n in life to h e l p h i m r e a l i z e his p o t e n t i a l as a w r i t e r .

In N a n c y M i l f o r d ' s b i o g r a p h y of Z e l d a we fin'd e v e n m o r e c o m m e n t s ■d e f e n d i n g Zelda, and an e v e n m o r e a c c u s a t o r y tone t o w a r d F i tz g e r a l d . M i l f o r d e m p h a s i z e s all of S c ot t' s b a d a s p e ct s s uc h as his d ri n k i n g , his n e u r o t i c j e a l o u s y of Z e ld a' s w r i t i n g s , his lack of i n t e r e s t a n d care for he r , his lack of u n d e r s t a n d i n g in r e l a t i o n to h e r c o m p l e x i t y , his w e a k n e s s e s a n d self-insecurity,, his e x e r c i s i n g too m u c h a u t h o r i t y o ve r her, his u s ing h e r m a t e r i a l t o w r i t e his nove l s , his t o o - s e v e r e c r i t i c i s m of h e r b e h a v i o r a n d h e r vjritings, and his i n s e n s i t i v e n e s s to h e r p r e c a r i o u s s t a t e vvhen she b e c a m e m e n t a l l y dis t u r b e d . M i l f o r d rem a r k s : "What Z el d a n e e d e d was pe a c e , c a l m , and r e a s s u r a n c e of h e r s e l f at e v e r y p o i n t of u n c e r t a i n t y . S c ott c o ul d not gi v e w h a t he did not

19 r ■

or e n l i g h t e n me. T o me, it is not a s t o n i s h i n g that I s h o u l d look 2 0

u p o n y o u with u n f r i e n d l y eyes . " .

On the o t h e r h a nd , M i l f o r d t r i e s to, e m p h a s i z e Z e l d a ' s g o o d a s pe c t s , such as h e r e f f o r t s not to b o t h e r h i m w h e n he was

w r i t i n g , h e r r e v i e w i n g his n o v e l s, h e r not c r i t i c i z i n g h i m in p u bl ic , h e r l o ya l t y to him, h e r g r a t i t u d e for h i s f i n a n c i a l help, h e r s o r r o w for- h e r m e n t a l p r o b l e m s a n d so on. Sara a n d G e r a l d Murphy, w h o w e r e F it z g e r a l d s ' f r i e n ds for a long time, a l s o r e c o g r

n i z e d Z e l da 's i n n o c e n c e in the d i s a s t e r of t h e i r lives. S a r a said: . . . she t r i e d v e r y h a r d to k e e p out of S co t t ' s h a i r d u r i n g the day w h i le h e wrote. , . . A f t e r all, Scott h a d his

w r it i n g . Z el d a h a d S c o t t - - a n d d i d n ' t h a v e v e r y m u c h of' h i m w h i l e he was w or ki ng . She a l w ay s h a d to c h a se a r o u n d a f t e r Scott, f o l l o w up a f t e r him. . . .21

In his turn, G e r a l d r em a r k e d : "I w o n d e r w h e t h e r it w a s n ' t p a r t l y h is .Scott's] own fault?^^^.

It is a ls o p o s s i b l e to h a v e a m i x e d v i e w o f Z e l d a a n d S c o t t ’s f e m al e c ha ra ct e r s . F i t z g e r a l d ' s a m b i v a l e n t f e e l i n g s t o w a r d s

Z e l d a are v e r y clear: "Part of w h a t F i t z g e r a l d l o v e d in Z e l d a was the i n t e g r i t y of h e r b e l i e f in h e r ri g h t s a s 'a b e a u t y to h a v e

2 3

p r e t t y t h i ng s a n d to let o t h e r s take the r e s p o n s i b i l i t y . "

Sc o tt's h e r o i n e s can be se e n f r o m two d i f f e r e n t p o i n t s of view, r e g a r d i n g e i t h e r t h e i r p o s i t i v e or t h e i r n e g a t i v e side, a n d a bo ut that v e r y l i t tl e is said, t h o u g h m u c h m o r e is implied.

D a i s y Fay as the " g r e e n - l i g h t " of G a t s b y ' s life is not r e a l l y g u i l t y of his death; "if she f a i l e d , " J oh n K u e h l says, "this is not h e r fault. If she has f el l (sic) short of his dr e a m s it is b e c a u s e of G a t s b y ' s i l l u s i o n h a d gone b e y o n d her, b e y o n d e v e r y

-2 4

t h i n g . " A n d Paul R o s e n f e l d says, d e f e n d i n g all F i t z g e r a l d ' s w o m en , i n c l u d i n g Zelda:

It is u n d o u b t e d l y i m p o s s i b l e f o r any r e a l l y n i c e A m e r i c a n g ir l t o r e s p o n d to t h e d es i r e s of a m a l e w h o does n o t m a k e the s p i r i t u a l g e s t u r e p a r a l l e l i n g the VJoolworth B u i ld in g. ^5 The o p p o s i t e g r o u p of c r i ti c s , c o n s t i t u t e d of p e o p l e w h o e m p h a s i z e Z e l d a' s and S c o tt's f e m a l e c h a r a ct er s' n e g a t i v e side,

is m u c h b i g g e r t ha n the other. T h e y s e e m to r e g a r d Ze l d a , as w e l l as the w o m e n of his f i ction, as s u p e r f i c i a l a n d e m p ty p e r s o n a l i ­ ties, as s e l f i s h a nd t e r r i b l y v ai n w o m e n w h o act t o t a l l y as " va m p s " an d d e s t r o y e r s of men. T h e s e c r i t i c s u n d e r s t a n d w h y F i t z g e r a l d s h o u l d b e c o m e d i s i l l u s i o n e d w i t h his o w n c r e at io n, the f lapper. It is i m p o r t a n t to say, h o w e v e r , that, b y d i s a p p r o v i n g of S c o t t ' s f e m a l e c h a r a c t e r s ' n e g a t i v e side, t h e s e c r i t i c s are not d i s a p ­ p r o v i n g of t h e i r v a lue in fiction. D e s p i t e b e i n g m o r a l l y bad, t h e se c h a r a c t e r s are a e s t h e t i c a l l y c o h e r e n t a n d some c r i t i c s do not like t h e m on m o r a l g r o u n d s , not a r t i s t i c a l l y .

Kent a n d G r e t c h e n K r e u t e r say th a t S c ot t' s w o m e n " m e r el y

2 6

b r i n g a bo u t the f a i l u r e of the m e n w h o love the m . "

T u r n b u l l says that " Pe rk i n s b l a m e d t h e i r e x t r a v a g a n c e s

2 7

on Z e l d a , " and S p i l l e r adds: . . his e f fo rt s to s a t i s f y his .own and his e v e n m o r e n e u r o t i c w i f e ' s g r e e d for w e a l t h a n d

1.2 8 s e n s a t i o n . . . ."

H e m i n g w a y was c o m p l e t e l y a g a i n s t Zelda, and he c a l l e d h e r "cra z y " (she did not like h i m e it h e r , a n d c a l l e d h i m " b o g u s " ) . In a l e t t e r to Scott, h e wrote:

Of all the p e o p l e on. e a r t h y o u n e e d e d d i s c i p l i n e in y o u r w o r k and i n s t e a d y o u m a r r y s o m e o n e w h o is jealous of y o u r w o rk, w a n t s to c om p e t e w i t h y o u a n d r ui n s you. It's not as s i m pl e as t h a t a n d I t h o u g h t Z e l d a w as c r azy the f i r st t i me I m e t h e r and y o u c o m p l i c a t e d e v e n m o r e by b e i n g in love w i t h her. . .29

H e m i n g w a y a ls o u s e d to say that t h e re w er e "-terrible odds . . . a g a i n s t h i m [ s c o t t j , " ^ ^ a n d that " F i t z g e r a l d ' s s a l v a t i o n lay in

Z e l d a ' s d e a t h or a- s t o m a c h a i l m e n t t h a t w o u l d p r e v e n t his d r i n k ­ ing. M e a n w h i l e H a d l e y , H e m i n g w a y ' s w i f e at that time, b e l i e v e d

3 2

th a t " Z e ld a was e s s e n t i a l l y a f r i v o l o u s k i n d of w o m a n . "

' N a n c y .M i l f o r d says t ha t " F i t z g e r a l d w a s at the e n d of his

33

t e t h e r and he felt he h a d b e e n d r i v e n t he r e by Z e l d a . "

M i z e n e r r e p o rt s that one of the p e o p l e w h o k ne w S c ott h a d said:

I s h o u l d . . h a v e fe l t he w as m u c h m o r e to b l a m e (about Zelda) if h e h a d g r o w n a l i t t l e b o r e d by, or i n d i f f e r e n t to, h e r t r a g e d y . . . t h a n if he h a d g r a p p l e d w i t h it daily, a n d failed, as h e did. No one c o u l d w a t c h th a t s t r u g g l e and not b e ^ c o n v i n c e d of the r e a l i t y of h i s c o n c e r n and, s u f f e r i n g .

As for F i t z g e r a l d ' s m a i n f e m i n i n e c h a r a c t e r s , it is e as y to d e t e c t h o w he p o r t r a y s t h e m n e g a t i v e l y , as bad, d e s t r u c t i v e .w o m e n , and c r it ic s h a v e t h e i r o w n c om me n t s a b ou t that. M a l c o l m C o w e ly says th a t the " p r o mi se " w h i c h ex i s t s in D a i s y ' s v o i c e is false.

3 5

Kazin. calls h e r "inhumian". J o h n P. B i s h o p _ says t h a t G l o r i a has "lips carmined, and s w e e t l y p r o f a n e _and a s u g g e s t i o n of that

3 5

p o w e r to drive m e n w i l d " - -h e r e she r e s e m b l e s P r a z' s " v a m p i r e " w o m a n (see The R o m a n t i c A g o n y , by M a r i o Praz)., S klar t h i nk s t ha t , in g en er a l , "the g e n t e e l r o m a n t i c h e r o i n e w a n t s h e r m a n to be a h er o , but in the v er y act of g i v i n g h e r love, she d e s t r o y s

3 7

his c a p a c i t y for h e r o i s m . " N ic o l e ' s b a d i n f l u e n c e u p o n h e r h u s b a n d is c e r t a i n l y the m o s t c o m m e n t e d on in S co t t ' s novels.

Fop Ke n t and G r e t c h e n K re u t e r , the c a u s e of D i c k ' s d e c ay is N i c o l e ' s money.

D i c k Diver, i m p r i s o n e d by w e a l t h and a w o r l d of p e o p l e m a d e u se l e s s by w e a l t h , l ik e w i s e f a i l e d to live up to his e a r l y pro m i s e . His d e c l i n e was as i n e v i t a b l e as it was i n n o c e n t .

t h e n his w i fe, w h o b r i ng s a b o u t the c o n f r o n t a t i o n w i t h g r e a t 39

w e a l t h a n d w h o is the a g e nt of his d e c l i n e . " R i c h a r d D. L e h a n r e m a r k s that F i t z g e r a l d o b v i o u s l y m a d e "Nicole into t he s p i r it

4 0 of Zelda, w h o drains Di c k D i v e r of s t r e n g t h and e n e r g y . "

C h a m b e r l a i n t h i n k s N i c ol e is e x t r e m e l y e g o t i s t i c a l and h e says that she

w il l r e m a i n in love w i t h Dr. D i v e r so long as she n e e d s h i m . . . w h e n she u l t i m a t e l y comes to fe e l t h ^ t she can s t a n d b y h e r s e l f , h e r love for h i m collapses.

M a l c o l m C o w l e y t h i n k s h e r i n s a n i t y is b a d for Dick, as w h e n she p r o v o k e d a car a c c id en t. D. S. S a va ge a na l y s e s D i c k a n d N i c o l e ' s s i tu a t i o n :

D i c k ' s g r o w i n g s u b j e c t i o n to N i c o l e s

J

4 3 c au s e of f a i l u r e is, in a l mo st e v e r y case, a w om a n . "

The g e n e r a l m o o d w h i c h s u r r o u n d s Scot t ' s w o m e n is that

one of h e r f ac e t s is p o s i t i v e , the o t h e r is n e g a t i v e . F i t z g e r a l d was a r o m a n t i c and t r e a t e d w o m e n w i t h a m b i v a l e n c e . The "why" b e ­ h i n d th i s t he s i s lies p r e c i s e l y in the e x p l a n a t i o n of this a m b i ­ v al en c e , and F i t z g e r a l d ' s a n i m a has a lot to do w i t h that. Some f ew c ri t i c s h a v e h i n t e d at the e x i s t e n c e of this f e m i n i n e side in F i t z g e r a l d , and a m o n g t h e m is the m o s t s t r i k i n g c om m e n t is

It has b e e n .observed . . . t ha t F i t z g e r a l d has. a l w a y s a dou b l e v i s i o n of h i m s e l f . . . but it has not b e e n r e m a r k e d that at the end o f his w r i t i n g c a r e e r the o u t s i d e r h a d b e ­ come d e f i n e d as t he y o u n g girl, a k i n d of a n i ma figure. The b i o g r a p h i c a l p r o b l e m of S co t t ' s s e xu al i de n t i t y , his v a ry in g s tr a n g e i d e n t i f i c a t i o n w i t h w o m e n , his m e t h o d of c h a r a c ­ t e r i z i n g w o m e n as f la pp er s and his a t t i t u d e t o w a r d t h e m w i l l be m o r e e a s i l y e x p l a i n e d i f,we e x a m i n e and a p p ly the ideas of C. G. J u ng in r e l a t i o n to the anima, a n d this w i l l a p p e a r l at e r in the ■dissertation.

BIBLIOGRA P H I C A L . R E F E R E N C E S

^ N a n c y M i l f o r d , Z e l d a , (New York: H a r p e r & Row, 1970), p. p . 9 9 .

2

A r t h u r M i z e n e r , The Far Side of P a r a d i s e , (Boston: H o u g h t o n M i f f l i n Co. , S e n t r y E d i t i o n , 1965 ) , p.

^ R o bert Sklar, F. S c ott F i t z g e r a l d : The Last Laocofln, (London: O x f o r d U n i v e r s i t y P r e s s é 1967), p. 16 7.

4 .

S i x t e e n M o d e r n A m e r i c a n A u t h o r s , J a c k s o n R. Bryer, ed., (New York: W. W. N o r t o n & Co., Inc., 1973), p. 283.

^ I b i d .

^ I b i d . , p. 284.

"^Andrew T u r n b u l l , The L e t t e r s o f S. Scott F i t z g e r a l d , (New York: C h a r l e s S c r i b n e r ’’"s S o n s , 196 3 , f r o n t flap.

^F. S c ott Fitzg-erald In His Own Time: A M i s c e l l a n y , M a t t h e w J . B r u c c o l i a n d J a c k s o n R. Br y e r , e d s . , (The Kent S t a t e U n i v e r s i t y P ress, 197 1 ) , p. viii.

^ I b i d .

^*^Kenneth E. Eble, F . S cott F i t z g e r a l d , (New H a v en , Conn.: T w a y n e P u b l i s h e r s Inc., 19 6 3), pr e f a c e d

^ ^ I b i d . , pp. 95-96.

1 2

F r e d e r i c k J. H o f f m a n , The T w e n t i e s , (New York: C o l l i e r Books , 1962 ) , p. 132.

^ ^ L i o n e l T r i l l i n g , "F. S cott F i t z g e r a l d , " T w e n t i e t h C e n t u r y V iews: F. G c o t t F i t z g e r a l d , A C o l l e c t i o n of C r i t i c a T E s s a y s , A r t h u r M i z e n e r , ed. ( E n g l e w o o d C l i f f s , N.J., 1963), p. 12.

1 4

Z e l d a F i t z g e r a l d , Save Me The W a l t z , (New York: N e w A m e r i c a n L i b r a r y , 1988), c o m m e n t by M i z e n e r . ^ ^ M i z e n e r , The F a r S i d e , p. 231. ^ ^ I b i d . , p. 219. ^ ^ Z e l d a , W a l t z , p. 206. 1 8 I b i d . , p. 205. 19 S i x t e e n M o d e r n A m e r i c a n A u t h o r s , p. 311.. ^*^Zelda, W a l t z , p. 275 .

^ ^ I b i d . , p. 168. ^ ^ I b i d . , p. 110. ^ ^ I b i d . 2*^Mizener, T h e F a r S i d e , p. 96. n 5 J o h n ' K u e h l , "Scott F i t z g e r a l d : R o m a n t i c a n d ' R e a l i s t , " T e n d e r is the Night: E s s a y s in C r i t i c i s m , M a r t i n J. L a H o o d , ed. ,

(L o n d o n : I n d i a n a U n i v e r s i t y Press,' 19 6 9')’,

p.

^ ^ P a u l - R o s e n f e l d , "F. S cott F i t z g e r a l d , " The C r a c k U p , E d m u n d W i l s o n , ed. , (Nevj York: N e w D i r e c t i o n s , 1945) , p . 319.

71

Kent and G r e t c h e n K r e u t e r , ''The M o r a l i s m of the L a t e r F i t z g e r a l d , " T e n d e r is the N i g ht , E s s a y s , p. 57.

9 ft

A n d r e w T u r n b u l l , Scott F i t z g e r a l d , (New York: C h a r l e s S c r i b n e r ' s Sons, 1962), p. 14 2.

9 9

R. Z. S h e p p a r d , "The F a r Side of F r i e n d s h i p : S co t t and E r n e s t , " T i m e M a g a z i n e , A p r i l 3, 1978, p. 51. 3 0 E r n e s t H e m i n g w a y , A M o v e a b l e F e a s t , (New York: C h a r l e s S c r i b n e r ' s Sons, 19 6 4), p. 16 0. ^^R. Z. S h e p p ar d , "The F a r Side of F r i e n d s h i p , " p. 54. ^ ^ M i i f o r d , Z e l d a , p. 115. ^^Ibid. , p. 269 . . M i z e n e r , The Far S i d e ^ p. 247. q c

A l f r e d Ka z i n , "An Am.erican C o n f e s s i o n , " F. Scott F i t z ­

gerald: The M a n and His W o r k ; A l f r e d Ka z i n , edT^ (L o n d o n : Collier- M a c M i l l a n Ltd., 1967), p. 179.

^^John P e a l e Bish o p , " The B e a u t i f u l a n d Damn e d : Mr. F i t z ­ g e r a l d Sees t h e F l a p p e r T h r o u g h , " M i s c e l l a n y , p. 322.

■'"'^Sklar, L a o c o d n , p. 27. 3 8

Kent a n d G r e t c h e n K r eu te r, "The M o r a l i s m of the L a t e r F i t z g e r a l d , " T e n d e r is the Night: E s s a y s , p. 16. I b i d . , p. 54. 4 0 R i c h a r d D. L e h a n , " T e n d e r is the N i g h t ," T e n d e r is the Night: E s s a y s , p. 65. 41 .

J o h n C h a m b e r l a i n , " T e n d e r is the N i g h t ," The M a n and His W o r k , p . 97.

4 2

D. S. Savage, "The S i g n i f i c a n c e of F, S c ott F i t z g e r a l d , " T w e n t i e t h C e n t u r y V i e w s , p. 152.

43

Kent and G r e t c h e n K r eu t e r , "The M o r a l i s m of the L a t e r F i t z g e r a l d , " p p . 56.

44

L e s l i e F i e d l e r , "Some N o tes on F. S c ott F i t z g e r a l d , " T w e n t i e t h C e n t u r y V i e w s , p . 74. .

C H A P T E R T W O

W O M E N O U T S I D E S C O T T F I T Z G E R A L D ’S F I C T I O N

S c ott F i t z g e r a l d ’s life, o u t s i d e h i s fi c t i o n , c e n t e r e d a r o u n d f iv e wo m e n : his m o t h e r (Moll i e ) , his f i r s t g i r l f r i e n d

( G i n e v r a King), his w i f e (Ze l d a S a y re), h i s d a u g h t e r ( Fr an c e s ) , an d his last love a f f a i r ( S h e i l a h G r aham).

3.1c M o l l i e , h i s m o t h e r

R e a d i n g S c o t t ’s b i o g r a p h y we can see h o w m u c h M o l l i e F i t z g e r a l d , his, m o t h e r , i n f l u e n c e d h i m ~ - m u c h m o r e t h a n his

father. ' Si nce h i s c h i l d h o o d , h e h a d b e e n a w a r e of his m o t h e r ’s f i n a n c i a l i m p o r t a n c e w i t h i n the family. It w a s f ro m h e r side th a t the m o n e y u s e d to come a f t e r his f at h e r , E d w a r d F i t z ­ g e r a l d , f a i l e d in b u s i n e s s » O n M o l l i e ’s side t h e r e w a s m o n e y , w h i l e on E d w a r d ’s t h e r e was o n l y some t o u c h of n o b i l i t y , due to the fact th a t t h e y d e s c e n d e d f r o m old M a r y l a n d f a m i l i e s , w h o al s o h a d h a d some i m p o r t a n c e in p o l i t i c s . B e s i d e s

th i s e c o n o m i c fact, w h i c h , in F i t z g e r a l d ’s e yes, p l a c e d M o l l i e

a l i t t l e "abo v e " h i s f a t h e r (who s e e m e d to be cut out f o r failu r e ) , t h e r e was al s o the v e r y b i g d i f f e r e n c e b e t w e e n them.

M o l l i e was a s t r a n g e b u t e n e r g e t i c figu r e . She "just m i s s e d b e i n g b e a u t i f u l , " ^ h e r h u s b a n d u s e d t o say. She h a d a

2

" c o m i c a l m o u t h " a n d g r a y - g r e e n eyes; "by w o r l d l y s ta n d a r d s M o l l i e was not a t t r a c t i v e ; she was t h o u g h t a l i tt le ’g o o f y ’ and

h e r a p p e a r a n c e was o d d . " ^ She w a s c a r e l e s s w i t h h e r b o d y , she w a s c a r e l e s s in h e r d r e s s in g » "But she was k i n d and p e o p l e

Lj.

w e r e c r u e l a b out her. T h e y c a l l e d h e r a w i t c h » " F i t z g e r a l d w a s f r e q u e n t l y e m b a r r a s s e d b y h i s m o t h e r ’s w a y of b e i n g and b e h a v i o r , h e r lack of style» She d r e s s e d o d d l y a n d s o m e t i m e s b e h a v e d o d d l y in p u b l i c . She was e c c e n t r i c a n d s a i d w h a t e v e r

c a m e in t o h e r h e ad , w h i c h c o u l d be c o n s i d e r e d a f l a p p e r l i k e b e h a v i o r » 'Mizener s p e ak s a b o u t her:

she h a d h e r h a i r f l y i n g a b o u t h e r h e a d in d i s o r d e r . She w a s , c a p a b l e of a p p e a r i n g on a f o rm al o c c a s i o n w e a r ­ ing one b l a c k shoe a n d o n e n e w b r o w n one, on the

p r i n c i p l e that it is a g o o d i d e a to b r e a k in n e w shoes one at a t i m e » . . she c a r r i e d an u m b r e l l a , r a i n or s h i n e »^

T h a t ’s w h y F i t z g e r a l d so m a n y t i m e s e x p r e s s e d his s h a m e at h a v i n g a m o t h e r like that; t h a t ’s w h y w e are hot s u r p r i s e d w h e n w e

r e a d a l e t t e r he w r o t e h e r b y the t im e h e was ju s t e l e v e n (he h a d g o n e a w a y to b o a r d i n g s c h o o l ) :

. . » I w o u l d li k e v e r y m u c h t o h a v e y o u up h e r e I d o n ’t t h i n k y o u w o u l d l ik e it as y o u k n o w n o one h er e e x c e p t Mrs. U p t o n and she is b u s y m o s t of t h e time, I d o n ’t

t h i n k y o u w o u l d l ik e the a c c o m m o d a t i o n s .^ Is he s e c r e t l y e m b a r r a s s e d at h a v i n g h e r i n t r o d u c e d t o his s c h o o l m a t e s ? E d w a r d F i t z g e r a l d , in h i s t u rn, was the p e r f e c t g e n t l e m a n , a n d - a l t h o u g h a w a r e of h i s i n a b i l i t y to s u c c e e d and to m a k e m o n e y (which h a d b e e n v e r y i m p o r t a n t f o r S co t t s i n c e h i s e a r l y y e a r s ) , F i t z g e r a l d l i k e d h i s f a t h e r v e r y much. "He a d m i r e d h i s f a t h e r ’s s t y l e a n d b r e e d i n g , and the b e a u t i f u l m a n n e r s . " T u r n b u l l d e s c r i b e s h i m as a- "small, i n e f f e c t u a l m a n w i t h b e a u t i f u l 8 s o u t h e r n m a n n e r s . . . b u t not m u c h g e t up a n d g o . ’’ H e s e e m e d not to m a t c h his s t u b b o r n w i f e , a l w a y s so m i x e d up a n d a c t i v e .

His l ooks w e r e fine, a l m o s t t o o fine. . o <, One w o u l d n e v e r b e l i e v e t ha t this w e l l - m o u l d e d h e a d and delicate,' s e n s i t i v e p r o f i l e c o u l d be a m a s k for d u l l n e s s or s t u ­ p i d i t y o . . . E d w a r d F i t z g e r a l d l a c k e d v i t a l i t y , ^

L i v i n g u n d e r h i s w i f e ’s s h a d o w , he was a sad a n d i n t r o v e r t e d m a n w h o l o o k e d f o r s a t i s f a c t i o n in d r i n k i n g , w h i c h a c c e l e r a t e d

the r a t e of h i s decline. B e c a u s e of t h e s e t h i n g s he n e v e r h a d m u c h c o n t a c t w i t h his son, Scott, w h o g r e w up b e i n g m u c h m o r e

i n f l u e n c e d and d i r e c t e d b y h i s m o t h e r „ T he only t h i n g F i t z ­ g e r a l d i n h e r i t e d f r o m his f a t h e r wa s , l e t ’s say, his ’’c o d e of d e c o r u m , " " t h e b e l i e f in g o o d m a n n e r s a n d r i g h t i n s t i n c t s w h i c h s t a y e d w i t h h i m as an i d e a l all h i s life."^*^

F i t z g e r a l d g r e w u p v e r y m u c h s p o i l e d b y h i s m o t h e r . "Her g r e a t h o p e w a s h e r son, w h o m she l o v e d e x t r a v a g a n t l y as a w d m a n w i l l w h e n h e r h u s b a n d has in some w a y disappointed, h e r , " ^ ^

F i t z g e r a l d m a n y t im e s c r i t i c i z e d h i s m o t h e r ’s e x c e s s i v e p r e o c c u -12 p a t i o n w i t h him: "I w a s n ’t f o n d o f my m o t h e r w h o s p o i l e d me" - -b u t it is e a s y t o see w h y she a c t e d the w a y she did. B e s i d e s h e r d e c e p t i o n w i t h h e r h u s b a n d , t h e r e w a s the fact t ha t she h a d h a d t w o d a u g h t e r s s h o r t l y b e f o r e S c o t t was born, b o t h of w h o m h a d d ie d in e p id em ic s. T h a t fa c t is v e r y i m p o r t a n t b e c a u s e it e x p l a i n s w h y M o l l i e s u p e r p r o t e c t e d S c o t t — she h a d t r a n s f e r r e d to h e r o n l y s o n all the love and care she c o u ld not g i v e his

d e a d s i sters. We can al s o say that, c o n s e q u e n t l y , M o l l i e m o u l d e d h e r p r e o c c u p a t i o n a lo n g a " f em al e l i ne ," For e x a m p le , she m a d e h i m w o r r y too m u c h a b o u t his p h y s i c a l a p p e a r a n c e a n d a b o u t his c l o t h e s - - b u t l u c k i l y th a t l i t t l e b i t of f e m i n i n e e d u c a t i o n was not f a t a l to t h e b o y F i t z g e r a l d , w h o a l s o h a d a g r e a t t e n d e n c y t o w a r d s r o m a n t i c i s m and f a n ta sy , for h e g r e w up m u c h m o r e

k e p t t ha t a i r of s u a v i t y a n d d e l i c a c y t h a t are m or e commo,n in

gi r l s . .

M o l l i e a l w a y s ga v e h i m s p e c i a l a t t e n t i o n , t r y i n g to m a k e h i m e l e g a n t , a r e a l " s ho w- of f" : "About h e r s on ' s c l ot he s she

13

w a s as f a s t i d i o u s as she was n e g l e c t f u l of h e r own." "His m o t h e r h a d s p o i l e d h i m b a d l y a n d h e r e s e n t e d h e r and the c o d d l

-14

i n g." She h a d b e e n i n d u l g e n t a n d g i v e n h i m no w o r k - h a b i t s ; she h a d put h i m a m o n g the r i ch; she h a d c o l l a b o r a t e d t o m a k e h i m a dreamer. On c e she sent h i m a p o e m and h e re p l i e d :

" A c c o r d i n g t o y o u r p o e m I am d e s t i n e d to be a f a i l u r e . S c o t t b e c a m e v e r y a n g r y w i t h t hat, b u t m a y b e it w a s o n l y h e r f e a r of h a v i n g h e r d ea r s o n f o l l o w i n g in h e r h u s b a n d ' s f o o t s t e p s t h a t h a d d r i v e n h e r to be su c h an a s t r i n g e n t critic. L a t e r S c o t t p o r t r a y e d his m o t h e r ’s s u p e r p r o t e c t i o n in t h e c h a r a c t e r of B e a t r i c e O ' H a r a a n d h e r son, A m o r y , in his f i r s t nov e l . Th i s Side of P a r a d i s e . F i t z g e r a l d c a l l e d h is f a t h e r a " m or on " and h i s m o t h e r a " n e u r o t i c , " a n d d u r i n g h i s w h o l e l i f e t i m e he a l t e r n a t e d b e t w e e n b e i n g a s h a m e d of h e r e c c e n t r i c i t y a n d b e i n g d e v o t e d to her. W h e n <. . . h e r e a l i z e d h o w b i t t e r l y he h a d to s u f f e r b e c a u s e of the w a y she h a d s p o i l e d h i m, he w as v e r y a n g r y at h e r « l ^ O n c e he s t a r t e d t o w r i t e a n o v e l c a l l e d T h e Boy W h o K i l l e d His M o t h e r , a n d it c e r t a i n l y w o u l d h a v e c o n t a i n e d his a n t a g o n i s m t o w a r d s her. At t h a t t i m e she was c o m i n g to v i s i t h i m in P aris

17 a n d h e t o l d his f r i e n d s " w hat a d r e a d f u l o l d w o m a n she w a s . "

S o m e t i m e s he c o u l d be s y m p a t h e t i c t o he r , b u t m o s t of t h e t i m e he s u f f e r e d f r o m h e r f o o l i s h n e s s , a n d m o s t of t h e t i m e he "was less c r i t i c a l of h i s f a t h e r w h o h a d t h e e l e g a n c e and

18 d e c o r u m h i s m o t h e r l a c k e d . "