[Facts #1] [Facts #2] [Facts #3] [Facts #4] [Facts #5] [Facts #6] [Facts #7] [Facts #8] [Facts #9] [Facts #10] [Facts #11]
Fitzgerald’s Inscription to Ernest Truex in The Vegetable
Fitzgerald’s early interest in the stage, both in St. Paul and at Princeton, led to the only play of his professional career, The Vegetable. Scribners published the play in book form on 27 April 1923. Sam H. Harris agreed to produce The Vegetable, but it failed in its Atlantic City tryout in November 1923. Ernest Truex, to whom Fitzgerald inscribed this copy of the published play on the free front endpaper, appeared in the leading role as Jerry Frost.
submitted by: Michael Cody / [Index]
Carbon Copy of First Chapters of This Side of Paradise
The final setting-copy typescript and proofs of This Side of Paradise are not extant, making it impossible to determine the extent of Maxwell Perkins’s involvement with Fitzgerald’s first novel. Although Perkins is celebrated for the extensive editorial assistance he at times gave to other writers, the correspondence between Perkins and Fitzgerald does not suggest that he contributed more than routine editing to This Side of Paradise. However, Fitzgerald and Perkins may have worked together on the novel in New York during 1919.
This carbon copy (48 pages of chapters 1 and 2)includes the “Author’s Preface,” which does not appear in the published volume. Although large in number, the alterations between this typescript and the finished version are limited to changes in punctuation and spelling and to substitutions of single words or phrases.
submitted by: Mary Sidney Watson / [Index]
Fitzgerald’s Inscription to the Obers in The Vegetable
Fitzgerald’s first story sales to the Smart Set and Scribner’s Magazine were made on his own. In October 1919 he began sending his material to the Paul Revere Reynolds literary agency and soon became the client of Harold Ober at that agency. Ober provided Fitzgerald with guidance as to the expectations of the marketplace, and he, like Maxwell Perkins, provided Fitzgerald with emergency personal loans. Ober and his wife, Anne, acted as surrogate parents to Scottie Fitzgerald while her father was in Hollywood between 1937 and 1940. Fitzgerald’s inscription to the Obers appears on the free front endpaper of The Vegetable.
submitted by: Tracy Simmons Bitonti / [Index]
Fitzgerald’s Inscription to Lois Moran in This Side of Paradise
During a 1927 trip to Hollywood Fitzgerald met actress Lois Moran who had made a successful American silent-movie debut as the ingenue in Stella Dallas (1925). Fitzgerald was attracted to the young actress and may have performed with her in a screen test. He inscribed a copy of This Side of Paradise to her, probably during his 1927 stay in Hollywood.
Fitzgerald drew on his relationship with Lois Moran for his Hollywood story “Jacob’s Ladder” (Saturday Evening Post, 20 August 1927) about a mature man who becomes a patron to a beautiful young girl. Fitzgerald later used Moran as the model for Rosemary Hoyt in Tender Is the Night. In an 8 March 1935 letter to Moran, Fitzgerald explains why he had not included “Jacob’s Ladder” in his most recent short-story collection: “I found that I had so thoroughly disemboweled it of its best descriptions for ‘Tender is the Night’ that it would be offering an empty shell” (Correspondence, p. 403).
submitted by: Park Bucker / [Index]
Fitzgerald’s Annotations on an Article of Lawrence Leighton
Leighton’s essay in the July-September 1932 issue of Hound & Horn condemned the work of Fitzgerald, John Dos Passos, and Ernest Hemingway as “repulsive, sterile, and dead” and claimed that they had turned their backs on the American novelistic tradition. Fitzgerald’s marginal annotations give his responses to Leighton’s charges.
submitted by: Robert F. Moss / [Index]
Fitzgerald’s Postscript to His July 1940 Letter to Alice Wootton
Alice Wootton worked as Fitzgerald’s secretary in Baltimore during the time that he was writing the “Count of Darkness” stories. In this postscript to a 29 July 1940 typed and signed letter, Fitzgerald expresses his bitterness about Hollywood.
submitted by: Cy League / [Index]
Title Page for The Crack-Up
For The Crack-Up (1945), Edmund Wilson, Fitzgerald’s friend since their Princeton days, selected nonfiction by Fitzgerald that evaluates his career and expresses his concerns during the Thirties. Included are “Echoes of the Jazz Age,” “My Lost City,” “Ring,” “Show Mr. and Mrs. F to Number ____,” “Auction—Model 1934,” “Sleeping and Waking,” “The Crack-Up,” “Handle with Care,” “Pasting It Together, and “Early Success,” along with excerpts from Fitzgerald’s notebooks and letters. Wilson also selected essays, letters, and tributes by prominent authors, including Gertrude Stein, Edith Wharton, T. S. Eliot, and Thomas Wolfe. The title of this work is taken from Fitzgerald’s February 1936 Esquire essay. The Crack-Up was immediately successful and has not gone out of print since its initial publication.
submitted by: Catherine E. Lewis / [Index]
This page updated 15 May 2005.
Copyright 1996, the Board of Trustees of the University of South Carolina.