Fitzgerald made little progress on his fourth novel, a study of American expatriates in France provisionally titled “The Boy Who Killed His Mother,” “Our Type,” and “The World’s Fair.” During these years Zelda’s unconventional behavior became increasingly eccentric.
The Fitzgeralds returned to America to escape the distractions of France. After a short, unsuccessful stint of screen writing in Hollywood, Fitzgerald rented “Ellerslie,” a mansion near Wilmington, Delaware, in the spring of 1927. The family remained at “Ellerslie” for two years interrupted by a visit to Paris in the summer of 1928, but Fitzgerald was still unable to make significant progress on his novel. At this time Zelda commenced ballet training, intending to become a professional dancer. The Fitzgeralds returned to France in the spring of 1929, where Zelda’s intense ballet work damaged her health and estranged them. In April 1930 she suffered her first breakdown. Zelda was treated at Prangins clinic in Switzerland until September 1931, while Fitzgerald lived in Swiss hotels. Work on the novel was again suspended as he wrote short stories to pay for psychiatric treatment.
Fitzgerald’s peak story fee of $4,000 from The Saturday Evening Post may have had in 1929 the purchasing power of $40,000 in 1994 dollars. Nonetheless, the general view of his affluence is distorted. Fitzgerald was not among the highest-paid writers of his time; his novels earned comparatively little, and most of his income came from 160 magazine stories. During the 1920s his income from all sources averaged under $25,000 a year—good money at a time when a schoolteacher’s average annual salary was $1,299, but not a fortune. Scott and Zelda Fitzgerald did spend money faster than he earned it; the author who wrote so eloquently about the effects of money on character was unable to manage his own finances.
The Fitzgeralds returned to America in the fall of 1931 and rented a house in Montgomery. Fitzgerald made a second unsuccessful trip to Hollywood in 1931. Zelda suffered a relapse in February 1932 and entered Johns Hopkins Hospital in Baltimore. She spent the rest of her life as a resident or outpatient of sanitariums.
In 1932, while a patient at Johns Hopkins, Zelda rapidly wrote Save Me the Waltz. Her autobiographical novel generated considerable bitterness between the Fitzgeralds, for he regarded it as pre-empting the material that he was using in his novel-in-progress. Fitzgerald rented “La Paix,” a house outside Baltimore, where he completed his fourth novel, Tender Is the Night. Published in 1934, his most ambitious novel was a commercial failure, and its merits were matters of critical dispute. Set in France during the 1920s, Tender Is the Night examines the deterioration of Dick Diver, a brilliant American psychiatrist, during the course of his marriage to a wealthy mental patient.
The 1935–1937 period is known as “the crack-up” from the title of an essay Fitzgerald wrote in 1936. Ill, drunk, in debt, and unable to write commercial stories, he lived in hotels in the region near Asheville, North Carolina, where in 1936 Zelda entered Highland Hospital. After Baltimore Fitzgerald did not maintain a home for Scottie. When she was fourteen she went to boarding school, and the Obers became her surrogate family. Nonetheless, Fitzgerald functioned as a concerned father by mail, attempting to supervise Scottie’s education and to shape her social values.
Fitzgerald went to Hollywood alone in the summer of 1937 with a six-month Metro-Goldwyn-Mayer contract at $1,000 a week. He received his only screen credit for adapting Three Comrades (1938), and his contract was renewed for a year at $1,250 a week. This $91,000 from MGM was a great deal of money during the late Depression years when a new Chevrolet coupé cost $619; although Fitzgerald paid off most of his debts, he was unable to save. His trips East to visit Zelda were disastrous. In California Fitzgerald fell in love with movie columnist Sheilah Graham. Their relationship endured despite his benders. After MGM dropped his option at the end of 1938, Fitzgerald worked as a freelance script writer and wrote short-short stories for Esquire. He began his Hollywood novel, The Love of the Last Tycoon, in 1939 and had written more than half of a working draft when he died of a heart attack in Graham’s apartment on December 21, 1940. Zelda Fitzgerald perished in a fire in Highland Hospital in 1948.
F. Scott Fitzgerald died believing himself a failure. The obituaries were condescending, and he seemed destined for literary obscurity. The first phase of the Fitzgerald resurrection—“revival” does not properly describe the process—occurred between 1945 and 1950. By 1960 he had achieved a secure place among America’s enduring writers: The Great Gatsby, a work that seriously examines the theme of aspiration in an American setting, defines the classic American novel.
YOUTH, PRINCETON, ZELDA
1896–1919
September 24, 1896
Birth of F. Scott Fitzgerald at 481 Laurel Avenue, St. Paul, Minnesota.
April 1898
Fitzgerald family moves to Buffalo, New York.
July 24, 1900
Birth of Zelda Sayre at Sayre home on South Street, Montgomery, Alabama.
January 1901
Fitzgerald family moves to Syracuse, New York.
July 1901
Birth of Annabel Fitzgerald, FSF’s sister.
September 1903
Fitzgerald family moves back to Buffalo.
1907
The Sayre family moves into a house at 6 Pleasant Avenue, Zelda’s home until her marriage.
July 1908
Fitzgerald family returns to St. Paul. FSF enters St. Paul Academy in September.
1909
Judge Sayre of the City Court is appointed an Associate Justice of the Supreme Court of Alabama.
October 1909
Publication of “The Mystery of the Raymond Mortgage” in The St. Paul Academy Now & Then—FSF’s first appearance in print.
August 1911
Production of FSF’s first play, The Girl from Lazy J, in St. Paul.
September 1911
FSF enters Newman School, Hackensack, New Jersey, where he meets Father Sigourney Fay and writer Shane Leslie.
August 1912
Production of The Captured Shadow in St. Paul.
August 1913
Production of The Coward in St. Paul.
September 1913
FSF enters Princeton University with Class of 1917. Meets Edmund Wilson ’16, John Peale Bishop ’17, and John Biggs, Jr. ’17.
August 1914
Production of Assorted Spirits in St. Paul.
December 1914
Production of Fie! Fie! Fi-Fil, FSF’s first Princeton Triangle Club show.
December 1914
First FSF appearance in The Princeton Tiger.
January 4, 1915
FSF meets Ginevra King, the model for several of his heroines, in St. Paul.
April 1915
“Shadow Laurels,” first FSF appearance in The Nassau Literary Magazine.
December 1915
FSF drops out of Princeton for rest of year; though in academic difficulty, he is allowed to leave for health reasons.
December 1915
Production of The Evil Eye by the Triangle Club.
September 1916
FSF returns to Princeton as member of the class of 1918.
December 1916
Production of Safety First by the Triangle Club.
October 26, 1917
FSF receives commission as 2nd lieutenant.
November 20, 1917
FSF reports to Fort Leavenworth, Kansas; begins his novel “The Romantic Egotist” there.
March 1918
FSF completes first draft of novel while on leave in Princeton and staying at Cottage Club; submits novel to Scribners.
May 31, 1918
Zelda graduates from Sidney Lanier High School.
June 1918
FSF reports to Camp Sheridan near Montgomery, Alabama.
July 1918
FSF meets Zelda at a country club dance in Montgomery.
August 1918
Scribners returns “The Romantic Egotist.” FSF revises it, but by the end of October it i
s finally rejected.
February 1919
FSF discharged from army and goes to New York to seek his fortune; finds employment at Barron Collier advertising agency; lives in a room at 200 Claremont Avenue. Informally engaged to Zelda.
June 1919
Zelda breaks engagement.
TO: Edward Fitzgerald
ALS, 1 p.1 Scrapbook. Princeton University
Camp Chatham stationery. Orillia, Ontario
July 15, 07
Dear Father,
I recieved the St Nickolas2 today and I am ever so much obliged to you for it.
Your loving son.
Scott Fitzgerald
TO: Mollie McQuillan Fitzgerald
Summer 1907
Scrapbook. Princeton University
Camp Chatham. Orillia, Ontario.
Dear Mother,
I wish you would send me five dollars as all my money is used up. Yesterday I went in a running contest and won a knife for second prize. This is a picture of Tom Penney and I starting on a paper chase.
Your loving son
Scott Fitzgerald
TO: Mollie McQuillan Fitzgerald
Scrapbook. Princeton University
July 18, 07
Dear Mother, I recieved your letter this morning and though I would like very much to have you up here I dont think you would like it as you know no one hear except Mrs. Upton and she is busy most of the time I dont think you would like the accomadations as it is only a small town and no good hotels. There are some very nise boarding houses but about the only fare is lamb and beef. Please send me a dollar becaus there are a lot of little odds and ends i need. I will spend it causiusly. All the other boys have pocket money besides their regullar allowence.
Your loving son
Scott Fitzgerald.
TO: Annabel Fitzgerald1
c. 1915
AL, 10 pp. Princeton University
Princeton, New Jersey
Written by me at 19 or so
Basis of Bernice2
The General Subject of Conversation
Conversation like grace is a cultivated art. Only to the very few does it come naturally. You are as you know, not a good conversationalist and you might very naturally ask, “What do boys like to talk about?’
(1) Boys like to talk about themselves—much more than girls. A girl once named Helen Walcott, told me (and she was the most popular debutante in Washington one winter) that as soon as she got a man talking about himself she had him cinched and harnessed—they give themself away. Here are some leading questions for a girl to use.
a) You dance so much better than you did last year.
b) How about giving me that sporty necktie when you’re thru with it.
c) You’ve got the longest eyelashes! (This will embarrass him, but he likes it)
d) I hear you’ve got a “line”!
e) Well who’s you’re latest crush!
Avoid
a) When do you go back to school?
b) How long have you been home?
c) Its warm or the orchestras good or the floors good.
Also avoid any talk about relations or mutual friends. Its a sure sign you’re hard up for talk if you ask Jack Allen about Harriette or Tuby about Martha. Dont be afraid of slang—use it, but be careful to use the most modern and sportiest like “line,” camafluage etc. Never talk about a boy about about his school or college unless he’s done something special or unless he starts the subject. In a conversation its always good to start by talking about nothing—just some fresh camafluage; but start it yourself—never let the boy start it: Dont talk about your school—no matter where you go. Never sing no matter how big the chorus.
2.
As you get a little old you’ll find that boys like to talk about such things as smoking and drinking. Always be very liberal—boys hate a prig—tell them you dont object to a girl smoking but dont like cigarettes yourself. Tell them you smoke only cigars—kid them!—When you’re old still you want always to have a line on the latest books plays and music. More men like that than you can imagine.
In your conversation always affect a complete frankness but really be only as frank as you wish to be. Never try to give a boy the affect that you’re popular—Ginevra1 always starts by saying shes a poor unpopular woman without any beause. Always pay close attention to the man. Look at him in his eyes if possible. Never effect boredom. Its terribly hard to do it gracefully Learn to be worldly. Remember in all society nine girls out of ten marry for money and nine men out of ten are fools.
Poise: Carriage: Dancing: Expression
(1) Poise depends on carriage, expression and conversation and having discussed the last and most important I’ll say a few words on the other two.
(2) A girl should hold herself straight. Margaret Armstrongs slouch has lost her more attention than her lack of beauty. Even Sandy is critiscized for stopping. When you cross a room before people nine out often look at you and if you’re straight and self contained and have a graceful atheletic carriage most of them will remark on it. In dancing it is very important to hold yourself well and remember to dance hard. Dancers like Betty and Grace and Alice work hard. Alice is an entirely self made dancer. At sixteen she was no better than you, but she practised and tried. A dancer like Elizabeth Clarkson looses partners. You can not be lazy. You should try not to trow a bit of weight on the man and keep your mind on it enough to follow well. If you’d spent the time on dancing with me as I’ve often asked you instead of playing the piano youd be a good dancer. Louis Ordway taught Kit to dance the Castle walk one summer and as long as it lasted she was almost rushed at dances. And dancing counts as nothing else does.
(3) Expression that is facial expression, is one of your weakest points. A girl of your good looks and at your age ought to have almost perfect control of her face. It ought to be almost like a mask so that she’d have perfect control of any expression or impression she might wish to use.
a) A good smile and one that could be assumed at will, is an absolute necesity. You smile on one side which is absolutely wrong. Get before a mirror and practise a smile and get a good one, a radiant smile ought to be in the facial vocubulary of every girl. Practise it—on girls, on the family. Practise doing it when you dont feel happy and when you’re bored. When youre embarrassed, when you’re at a disadvantage. Thats when you’ll have to use it in society and when you’ve practised a thing in calm, then only are you sure of it as a good weapon in tight places.
(b) A laugh isn’t as important but its well to have a good one on ice. You natural one is very good, but your artificial one is bum. Next time you laugh naturally remember it and practise so you can do it any time you want. Practise anywhere.
(c) A pathetic, appealing look is one every girl ought to have. Sandra and Ginevra are specialists at this: so is Ardita, Its best done by opening the eyes wide and drooping the mouth a little, looking upward (hanging the head a little) directly into the eyes of the man you’re talking to. Ginevra and Sandra use this when getting of their “I’m so unpopular speeches and indeed they use it about half the time. Practise this.
(d) Dont bit or twist your lips—its sure death for any expression
(e) The two expressions you have control over now are no good. One is the side smile and the other is the thoughtful look with the eyes half closed.
I’m telling you this because mother and I have absolutely no control over our facial expressions and we miss it. Mothers worse than I am—you know how people take advantage of what ever mood her face is in and kid the life out of her. Well you’re young enough to get over it—tho’ you’re worse than I am now. The value of this practise is that whenever you’re at a disadvantage you dont show it and boys hate to see a girl at a disadvantage.
Practise Now
Dress and Personality.
(A) No two people look alike in the same thing. but very few realize it. Shop keepers make money on the fact that the fat Mrs. Jones will buy the hat that looked
well on the thin Mrs. Smith. You’ve got to find your type. To do so always look at girls about your size and coloring and notice what they look well in. Never buy so much as a sash without the most careful consideration Study your type. That is get your good points and accentuate them. For instance you have very good features—you ought to be able to wear jaunty hats and so forth.
(B) Almost all neatness is gained in man or woman by the arrangement of the hair. You have beautiful hair—you ought to be able to do something with it. Go to the best groomed girl in school and ask her and then wear it that way—Dont get tired and changed unless you’re sure the new way is better. Catherine Tie is dowdy about her hair lately Dont I notice it? When Grace’s hair looks well—She looks well When its unkempt it looks like the devil. Sandy and Betty always look neat and its their hair that does it.
(2)
(C) I’ll line up your good points against your bad physically.
Good
Bad
Hair
Teeth only fair
Good general size
Pale complexion
Good features
Only fair figure
Large hands and feet.
Now you see of the bad points only the last cannot be remedied. Now while slimness is a fashion you can cultivate it by exercise—Find out now from some girl. Exercise would give you a healthier skin. You should never rub cold cream into your face because you have a slight tendency to grow hairs on it. I’d find out about this from some Dr. who’d tell you what you could use in place of a skin cream.
(D) A girl should always be careful about such things as underskirt showing, long drawers showing under stocking, bad breath, mussy eyebrows (with such splendid eyebrows as yours you should brush them or wet them and train them every morning and night as I advised you to do long ago. They oughtn’t to have a hair out of place.
(E) Walk and general physical grace. The point about this is that you’ll be up against situations when ever you go out which will call for you to be graceful—not to be physically clumsy. Now you can only attain this by practise because it no more comes naturally to you than it does to me. Take some stylish walk you like and imitate it. A girl should have a little class. Look what a stylish walk Eleanor and Grace and Betty have and what a homely walk Marie and Alice have. Just because the first three deliberately practised every where until now its so natural to them that they cant be ungraceful—This is true about every gesture. I noticed last Saturday that your gestures are awkward and so unnatural as to seem affected. Notice the way graceful girls hold their hands and feet. How they stoop, wave, run and then try because you cant practise those things when men are around. Its two late then. They ought to be incentive then
A Life in Letters Page 2
