Facts About Fitzgerald

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Inscription from Fitzgerald to Van Wyck Brooks

Fitzgerald was in Europe when The Great Gatsby was published. He sent handwritten slips to Maxwell Perkins to be inserted in presentation copies of the novel, including this one for Van Wyck Brooks, an influential American critic and literary historian. Brooks responded in a 22 April 1925 letter, “I have just read it, with the greatest delights, and it seems to me by far the best thing you’ve done—certainly a real creation and one that leaves in the mind a most haunting impression” (Correspondence, p. 160).


submitted by: Robert F. Moss / [Index]


Inscription from Van Wyck Brooks to Fitzgerald

After receiving an inscribed copy of The Great Gatsby from Fitzgerald, Brooks reciprocated with this inscribed copy of his The Pilgrimage of Henry James (New York: Dutton, 1925).


submitted by: Robert F. Moss / [Index]


Unrevised Galley Proofs for First Installment of the

Tender Is the Night Serialization

Tender Is the Night evolved through nine years and seventeen stages of composition. The text as represented by the Bruccoli Collection’s two pages of galleys for the first Scribner’s Magazine installment (January 1934) was not the final form of the novel Charles Scribner’s Sons published on 12 April 1934. Fitzgerald extensively revised the proofs for the magazine installments and then revised the final serialized version for the book publication of Tender Is the Night. The handwritten notes at the top of the galleys are Fitzgerald’s.


submitted by: Michael Cody / [Index]


Inscription to Harold Ober in The Bell Haven Eight

Fitzgerald humorously inscribed George Barton’s The Bell Haven Eight (Philadelphia: Winston, 1914), a volume of prep-school stories, to his literary agent and Harvard graduate Harold Ober. During their twenty-one-year association Ober served as Fitzgerald’s agent, accountant, banker, confidant, friend, and surrogate parent to his daughter. In expectation of a magazine sale, Ober often advanced Fitzgerald money on the receipt of a story. As Fitzgerald’s stories became harder to place in the mid-1930s, Ober’s advances became interest-free loans. By 1937 Fitzgerald owed Ober more than $12,000. While under contract to MGM, Fitzgerald repaid his debt within two years. Fitzgerald dedicated his fourth and final short-story collection, Taps at Reveille (1935), to Ober.


submitted by: Park Bucker / [Index]


Inscription to René Crevel

Fitzgerald inscribed a copy of James Joyce’s Gens du Dublin [Dubliners] (Paris: Librairie Plon, 1926) to Crevel, a French novelist whom Fitzgerald met in Paris. In a 21 January 1930 letter to Maxwell Perkins, Fitzgerald wrote, “In the foreign (French) field there is besides Chamson one man, and at the opposite pole, of great great talent. It is not Cocteau nor Arragon but young René Crevel” (Life in Letters, p. 176).


submitted by: Robert F. Moss / [Index]


Inscription to Annah Williamson in Taps at Reveille

During his “Crack-Up” period Fitzgerald inscribed a copy of his last short-story collection, Taps at Reveille (New York: Scribners, 1935), for a relative of Dorothy Richardson, his private-duty nurse in Asheville, North Carolina.

The inscription can be read as Fitzgerald’s defense of his short stories and the personal material upon which they drew. Although Fitzgerald disparaged his magazine fiction to other writers, he shared his most revealing evaluation of his stories with only himself. In his Notebooks Fitzgerald recorded: “I have asked a lot of my emotions—one hundred and twenty stories. The price was high, right up with Kipling, because there was one little drop of something not blood, not a tear, not my seed, but me more intimately than these, in every story, it was the extra I had. Now it has gone and I am just like you now” (p. 131).


submitted by: Park Bucker / [Index]


Scottie Fitzgerald Smith, ca. 1981


Scottie Fitzgerald Smith was a responsible custodian of her parents’ literary properties and their reputations. In this photograph she stands in front of 6 Pleasant Avenue, Montgomery, Alabama, where her father courted her mother in 1918.


submitted by: Matthew J. Bruccoli / [Index]


Scottie Fitzgerald Smith’s Revisions for Her Introduction

to The Romantic Egoists and Her Notes for

Some Sort of Epic Grandeur

Scottie Fitzgerald Smith, Joan Paterson Kerr (her Vassar classmate), and Matthew J. Bruccoli edited The Romantic Egoists (1974), a “pictorial autobiography” of F. Scott and Zelda Fitzgerald, for which Scottie wrote the introduction. Scottie, who collaborated with Bruccoli on several Fitzgerald projects, provided an appendix, “The Colonial Ancestors of Francis Scott Key Fitzgerald,” for Bruccoli’s Some Sort of Epic Grandeur: The Life of F. Scott Fitzgerald (1981), which she helped Bruccoli plan.


submitted by: Judith S. Baughman / [Index]


Fitzgerald Centenary Comments

This page updated 13 March 2005.
Copyright 1996, the Board of Trustees of the University of South Carolina.
URL http://www.sc.edu/fitzgerald/facts/facts11.html