The Crack-Up

by F. Scott Fitzgerald

  Too bad; there should be peace between the generations now, at least among the literary. Popularity or no popularity, we have none too many helpful friends; and in a time of world war there may be panic and conservatism and absent-mindedness and neglect of literature in general, and those slight acts of obscure vengeance so easy to commit when fellow citizens have begun to fear and imagine and act as a mass. There should not be any quarrel between literature and journalism either. Modernly conceived and well done—literary men sticking to the truth and newspapermen using imagination—they relate to each other very closely, and may sustain and inspire each other back and forth. In a time of solemn subject matter it is more and more needful that they should.

  In any case Mr. Pegler’s decade is out as well as ours; the rude hard-working thirties as well as the wild twenties. The forties have come. Those of us who have been youthful too long—which, I suppose, is the real point of his criticism—now certainly realize our middle age; no more time to make ready or dawdle, nor energy to waste. That is one universal effect of war on the imagination: time, as a moral factor, instantly changes expression and changes pace. Everyman suddenly has a vision of sudden death.

  What is the difference, from the universal angle? Everyone has to die once; no one has to die twice. But now that mortality has become the world’s worst worry once more, there is less sophistication of it. Plain as day we see that the bull in the arena is no more fated than the steer in the slaughterhouse. The glamorous gangster’s cadaver with bellyful of bullets is no deader than the commonplace little chap overcome by pernicious anemia. Napoleon III at the battle of Sedan, the other battle of Sedan, rouged his cheeks in order not to communicate his illness and fright to his desperate army. An unemployed young actor, a friend of a friend of mine, lately earned a living for a while by rouging cheeks of well-off corpses at a smart mortician’s. All this equally—and infinitude of other things under the sun—is jurisdiction of death. The difference between a beautiful death and an ugly death is in the eye of the beholder, the heart of the mourner, the brain of the survivor.

  The fact of Scott Fitzgerald’s end is as bad and deplorable as could be; but the moral of it is good enough, and warlike. It is to enliven the rest of the regiment. Mere tightening the belt, stiffening the upper lip, is not all I mean; nor the simple delight of being alive still, the dance on the grave, the dance between holocausts. As we have it—documented and prophesied by his best work, commented upon in the newspaper with other news of the day—it is a deep breath of knowledge, fresh air, and an incitement to particular literary virtues.

  For the private life and the public life, literary life and real life, if you view them in this light of death—and now we have it also boding on all the horizon, like fire—are one and the same. Which brings up another point of literary criticism; then I have done. The great thing about Fitzgerald was his candor; verbal courage; simplicity. One little man with eyes really witnessing; objective in all he uttered, even about himself in a subjective slump; arrogant in just one connection, for one purpose only, to make his meaning clear. The thing, I think, that a number of recent critics have most disliked about him is his confessional way, the personal tone, the tête-à-tête or man-to-man style, first person singular. He remarked it himself in The Crack-Up: “There are always those to whom all self-revelation is contemptible.”

  I on the other hand feel a real approval and emulation of just that; and I recommend that all our writers give it serious consideration. It might be the next esthetic issue and new mode of American letters. It is American enough; our greatest fellows, such as Franklin and Audubon and Thoreau and Whitman, were self-expressers in so far as they knew themselves. This is a time of greater knowledge, otherwise worse; an era which has as many evil earmarks as, for example, the Renaissance: awful political genius running amok and clashing, migrations, races whipped together as it were by a titanic egg-beater, impatient sexuality and love of stimulants and cruelty, sacks, burnings and plagues. Fine things eventually may be achieved amid all this, as in that other century. I suggest revelation of man as he appears to himself in his mirror—not as he poses or wishes or idealizes—as one thing to try a revival of, this time. Naked truth about man’s nature in unmistakable English.

  In the Renaissance they had anatomy: Vesalius in Paris at midnight under the gallows-tree, bitten by the dogs as he disputed with them the hanged cadavers which they wanted to eat and he wanted to cut up. They had anatomy and we have psychology. The throws of dice in our world— at least the several dead-weights with which the dice appear to be loaded against us—are moral matters; and no one ever learns much about all that except in his own person, at any rate in private. In public, in the nation and the inter-nation and the anti-nation, one just suffers the weight of the morality of others like a dumb brute. This has been a dishonest century above all: literature lagging as far behind modern habits as behind modern history; democratic statesmanship all vitiated by good form, understatement, optimism; and the nations which could not afford democracy, finally developing their supremacy all on a basis of the deliberate lie. And now is the end, or another beginning.

  Writers in this country still can give their little examples of truth-telling; little exercises for their fellow citizens, to develop their ability to distinguish truth from untruth in other connections when it really is important. The importance arises as desperately in the public interest as in private life. Even light fiction can help a society get together and agree upon its vocabulary; little strokes of the tuning-fork, for harmony’s sake. And for clarity’s sake, let us often use, and sanction the use of, words of one syllable. The shortest and most potent is the personal pronoun: I. The sanctified priest knows that, he says credo; and the trustworthy physician only gives his opinion, not a panacea. The witness in the courtroom does not indulge in the editorial we; the judge and the lawyers will not allow it; and indeed, if the case is important, if there is life or liberty or even a large amount of money at stake, not even supposition or hearsay is admitted as evidence. Our worldwide case is important.

  Not only is Anglo-Saxondom all at war with the rest of the world in defense of its accustomed power and prosperity, and of the luxuries of the spirit such as free speech, free publication, free faith—for the time being, the United States is the likeliest place for the preservation of the Mediterranean and French ideal of fine art and writing: which puts a new, peculiar obligation upon us ex-expatriates. The land of the free should become and is becoming a city of refuge; but there is cultural peril even in that. France has merely committed her tradition to our keeping, by default; whereas Germany has exiled to us her most important professors and brilliant writers. Perhaps the latter are bound to introduce into our current literature a little of that mystically philosophic, obscurely scientific mode which somewhat misled or betrayed them as a nation. Therefore we must keep up more strictly and energetically than ever, our native specific skeptical habit of mind; our plainer and therefore safer style.

  In any consideration of the gravity of the work of art and letters—and upon any solemn occasion such as the death of a good writer like Scott Fitzgerald—I think of Faust, and that labor he dreamed of when he was blind and dying, keeping the devil waiting. It was the drainage of a stinking sea-marsh and the construction of a strong dyke. Fresh fields amid the eternally besieging sea: room for a million men to live, not in security—Goethe expressly ruled out that hope of which we moderns have been too fond—but free to do the best they could for themselves. Does it seem absurd to compare a deceased best seller with that mythic man: former wholesome Germany’s demigod? There must always be some pretentiousness about literature, or else no one would take its pains or endure its disappointments. Throughout this article I have mixed bathos with pathos, joking with tenderness, in order to venture here and there a higher claim for literary art than is customary now. I am in dead earnest. Bad writing is in fact a rank feverish unnecessary slough. Good writing is a dyke, in which there is a leak for ev
ery one of our weary hands. And honestly I do see the very devil standing worldwide in the decade to come, bound to get some of us. I realize that I have given an exaggerated impression of Fitzgerald’s tragedy in recent years: all the above is based on his confession of 1936, and he was not so nearly finished as he thought. But fear of death is one prophecy that never fails; and now his strength is only in print, and his weakness of no account, except for our instruction.

  A NOTE ON FITZGERALD

  by JOHN DOS PASSOS

  THE notices in the press referring to Scott Fitzgerald’s untimely death produced in the reader the same strange feeling that you have when, after talking about some topic for an hour with a man, it suddenly comes over you that neither you nor he has understood a word of what the other was saying. The gentlemen who wrote these pieces obviously knew something about writing the English language, and it should follow that they knew how to read it. But shouldn’t the fact that they had set themselves up to make their livings as critics of the work of other men furnish some assurance that they recognized the existence of certain standards in the art of writing? If there are no permanent standards, there is no criticism possible.

  It seems hardly necessary to point out that a well written book is a well written book whether it’s written under Louis XIII or Joe Stalin or on the wall of a tomb of an Egyptian Pharaoh. It’s the quality of detaching itself from its period while embodying its period that marks a piece of work as good. I would have no quarrel with any critic who examined Scott Fitzgerald’s work and declared that in his opinion it did not detach itself from its period. My answer would be that my opinion was different. The strange thing about the articles that came out about Fitzgerald’s death was that the writers seemed to feel that they didn’t need to read his books; all they needed for a license to shovel them into the ashcan was to label them as having been written in such and such a period now past. This leads us to the inescapable conclusion that these gentlemen had no other standards than the styles of window-dressing on Fifth Avenue. It means that when they wrote about literature all they were thinking of was the present rating of a book on the exchange, a matter which has almost nothing to do with its eventual value. For a man who was making his living as a critic to write about Scott Fitzgerald without mentioning The Great Gatsby just meant that he didn’t know his business. To write about the life of a man as important to American letters as the author of The Great Gatsby in terms of last summer’s styles in ladies’ hats, showed an incomprehension of what it was all about, that, to anyone who cared for the art of writing, was absolutely appalling. Fortunately there was enough of his last novel already written to still these silly yappings. The celebrity was dead. The novelist remained.

  It is tragic that Scott Fitzgerald did not live to finish The Last Tycoon. Even as it stands I have an idea that it will turn out to be one of those literary fragments that from time to time appear in the stream of a culture and profoundly influence the course of future events. His unique achievement, in these beginnings of a great novel, is that here for the first time he has managed to establish that unshakable moral attitude towards the world we live in and towards its temporary standards that is the basic essential of any powerful work of the imagination. A firmly anchored ethical standard is something that American writing has been struggling towards for half a century.

  During most of our history our writers have been distracted by various forms of the double standard of morals. Most of our great writers of the early nineteenth century were caught on the tarbaby of the decency complex of the period, so much more painful in provincial America than on Queen Grundy’s own isle. Since the successful revolt of the realists under Dreiser, the dilemma has been different, but just as acute. A young American proposing to write a book is faced by the world, the flesh and the devil on the one hand and on the other by the cramped schoolroom of the highbrows with its flyblown busts of the European great and its priggish sectarian attitudes. There’s popular fiction and fortune’s bright roulette wheel, and there are the erratic aspirations of the longhaired men and shorthaired women who, according to the folklore of the time, live on isms and Russian tea, and absinthe and small magazines of verse. Everybody who has put pen to paper during the last twenty years has been daily plagued by the difficulty of deciding whether he’s to do “good” writing that will satisfy his conscience or “cheap” writing that will satisfy his pocketbook. Since the standards of value have never been strongly established, it’s often been hard to tell which was which. As a result all but the most fervid disciples of the cloistered muse have tended to try to ride both horses at once, or at least alternately. That effort and the subsequent failure to make good either aim, has produced hideous paroxysms of moral and intellectual obfuscation. A great deal of Fitzgerald’s own life was made a hell by this sort of schizophrenia, that ends in paralysis of the will and of all the functions of body and mind. No durable piece of work, either addressed to the pulps or to the ages, has ever been accomplished by a doubleminded man. To attain the invention of any sound thing, no matter how trivial, demands the integrated effort of somebody’s whole heart and whole intelligence. The agonized efforts of split personalities to assert themselves in writing has resulted, on the money side, in a limp pandering to every conceivable low popular taste and prejudice, and, on the angels’ side, in a sterile connoisseur viewpoint that has made “good” writing, like vintage wines and old colonial chairs, a coefficient of the leisure of the literate rich.

  One reason for the persistence of this strange dualism and the resulting inefficiency of the men and women who have tried to create literature in this country is that few of us have really faced the problem of who was going to read what we wrote. Most of us started out with a dim notion of a parliament of our peers and our betters through the ages that would eventually screen out the vital grain. To this the Marxists added the heady picture of the onmarching avenging armies of the proletariat who would read your books round their campfires. But as the years ground on both the aristocratic republic of letters of the eighteenth century and the dreams of a universal first of May have receded further and further from the realities we have had to live among. Only the simple requirements of the editors of mass circulation magazines with income based on advertising have remained fairly stable, as have the demands of the public brothels of Hollywood, where retired writers, after relieving their consciences by a few sanctimonious remarks expressing what is known in those haunts as “integrity,” have earned huge incomes by setting their wits to work to play up to whatever tastes of the average man seemed easiest to cash in on at any given moment.

  This state of things is based, not, as they try to make us believe, on the natural depravity of men with brains, but on the fact that for peace as well as for war industrial techniques have turned the old world upside down. Writers are up today against a new problem of illiteracy. Fifty years ago you either learned to read and write or you didn’t learn. The constant reading of the bible in hundreds of thousands of humble families kept a basic floor of literacy under literature as a whole, and under the English language. The variety of styles of writing so admirably represented, the relative complexity of many of the ideas involved and the range of ethical levels to be found in that great compendium of ancient Hebrew culture demanded, in its reading and in its exposition to the children, a certain mental activity, and provided for the poorer classes the same sort of cultural groundwork that the study of Greek and Latin provided for the sons of the rich. A mind accustomed to the Old and New Testaments could easily admit Shakespeare and the entire range of Victorian writing: poetry, novels, historic and scientific essays, up to the saturation point of that particular intelligence. Today the English-speaking peoples have no such common basic classical education. The bottom level is the visual and aural culture of the movies, not a literary level at all. Above that appear all sorts of gradations of illiteracy, from those who, though they may have learned to read in school, are now barely able to spell out the captions in
the pictures, to those who can take in, with the help of the photographs, a few simple sentences out of the daily tabloids, right through to the several millions of actively literate people who can read right through The Saturday Evening Post or The Reader’s Digest and understand every word of it. This is the literal truth. Every statistical survey that has recently been made of literacy in this country has produced the most staggering results. We have to face the fact that the number of Americans capable of reading a page of anything not aimed at the mentality of a child of twelve is not only on the decrease but probably rapidly on the decrease. A confused intimation of this situation has, it seems to me, done a great deal to take the ground from under the feet of intelligent men who in the enthusiasm of youth decided to set themselves up to be writers. The old standards just don’t ring true to the quicker minds of this unstable century. Literature, who for? they ask themselves. It is natural that they should turn to the easy demands of the popular market, and to that fame which if it is admittedly not deathless is at least ladled out publicly and with a trowel.