This Side of Paradise by F. Scott Fitzgerald (top 10 motivational books .TXT) 📕
Description
This Side of Paradise chronicles the coming of age of Amory Blaine, born to a wealthy midwestern family. It begins with Amory as a spoiled youth, doted on by his eccentric mother Beatrice. It follows him as he attends preparatory school and Princeton, and then briefly attempts but quickly abandons at a career in advertising. His service in World War I is mentioned but mostly glossed over. Covered in much more detail are his various romances: youthful dalliances, a correspondence-based relationship that ends as soon as the couple spends time together in person, a deep love with the debutante sister of one of his close friends, and an intense summer fling.
The book shows Amory’s attempts to define himself as a person and find his place in a world rapidly changing through World War, the “Jazz Age,” and Prohibition. It provides the reader with a good picture of what life was like for a privileged young man of the era.
F. Scott Fitzgerald’s first novel, This Side of Paradise was published in 1920 when he was 23 years old, and was widely praised by critics. The semi-autobiographical work launched his career as one of America’s most well-known writers. As a direct result of the publishing of the novel, Zelda Sayre (the inspiration for the character of the debutante Rosalind Connage) agreed to marry Fitzgerald. The couple became an icon of the excesses of the Jazz Age.
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- Author: F. Scott Fitzgerald
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“I’ll remember.”
He tapped suddenly at the glass and they drew up at the door of an all-night restaurant.
“Is Alec a great friend of yours?” asked Jill as they perched themselves on high stools inside, and set their elbows on the dingy counter.
“He used to be. He probably won’t want to be any more—and never understand why.”
“It was sorta crazy you takin’ all that blame. Is he pretty important? Kinda more important than you are?”
Amory laughed.
“That remains to be seen,” he answered. “That’s the question.”
The Collapse of Several Pillars
Two days later back in New York Amory found in a newspaper what he had been searching for—a dozen lines which announced to whom it might concern that Mr. Amory Blaine, who “gave his address” as, etc., had been requested to leave his hotel in Atlantic City because of entertaining in his room a lady not his wife.
Then he started, and his fingers trembled, for directly above was a longer paragraph of which the first words were:
“Mr. and Mrs. Leland R. Connage are announcing the engagement of their daughter, Rosalind, to Mr. J. Dawson Ryder, of Hartford, Connecticut—”
He dropped the paper and lay down on his bed with a frightened, sinking sensation in the pit of his stomach. She was gone, definitely, finally gone. Until now he had half unconsciously cherished the hope deep in his heart that some day she would need him and send for him, cry that it had been a mistake, that her heart ached only for the pain she had caused him. Never again could he find even the sombre luxury of wanting her—not this Rosalind, harder, older—nor any beaten, broken woman that his imagination brought to the door of his forties—Amory had wanted her youth, the fresh radiance of her mind and body, the stuff that she was selling now once and for all. So far as he was concerned, young Rosalind was dead.
A day later came a crisp, terse letter from Mr. Barton in Chicago, which informed him that as three more streetcar companies had gone into the hands of receivers he could expect for the present no further remittances. Last of all, on a dazed Sunday night, a telegram told him of Monsignor Darcy’s sudden death in Philadelphia five days before.
He knew then what it was that he had perceived among the curtains of the room in Atlantic City.
V The Egotist Becomes a Personage“A fathom deep in sleep I lie
With old desires, restrained before,
To clamor lifeward with a cry,
As dark flies out the greying door;
And so in quest of creeds to share
I seek assertive day again …
But old monotony is there:
Endless avenues of rain.
Oh, might I rise again! Might I
Throw off the heat of that old wine,
See the new morning mass the sky
With fairy towers, line on line;
Find each mirage in the high air
A symbol, not a dream again …
But old monotony is there:
Endless avenues of rain.”
Under the glass portcullis of a theatre Amory stood, watching the first great drops of rain splatter down and flatten to dark stains on the sidewalk. The air became gray and opalescent; a solitary light suddenly outlined a window over the way; then another light; then a hundred more danced and glimmered into vision. Under his feet a thick, iron-studded skylight turned yellow; in the street the lamps of the taxicabs sent out glistening sheens along the already black pavement. The unwelcome November rain had perversely stolen the day’s last hour and pawned it with that ancient fence, the night.
The silence of the theatre behind him ended with a curious snapping sound, followed by the heavy roaring of a rising crowd and the interlaced clatter of many voices. The matinée was over.
He stood aside, edged a little into the rain to let the throng pass. A small boy rushed out, sniffed in the damp, fresh air and turned up the collar of his coat; came three or four couples in a great hurry; came a further scattering of people whose eyes as they emerged glanced invariably, first at the wet street, then at the rain-filled air, finally at the dismal sky; last a dense, strolling mass that depressed him with its heavy odor compounded of the tobacco smell of the men and the fetid sensuousness of stale powder on women. After the thick crowd came another scattering; a stray half-dozen; a man on crutches; finally the rattling bang of folding seats inside announced that the ushers were at work.
New York seemed not so much awakening as turning over in its bed. Pallid men rushed by, pinching together their coat-collars; a great swarm of tired, magpie girls from a department-store crowded along with shrieks of strident laughter, three to an umbrella; a squad of marching policemen passed, already miraculously protected by oilskin capes.
The rain gave Amory a feeling of detachment, and the numerous unpleasant aspects of city life without money occurred to him in threatening procession. There was the ghastly, stinking crush of the subway—the car cards thrusting themselves at one, leering out like dull bores who grab your arm with another story; the querulous worry as to whether someone isn’t leaning on you; a man deciding not to give his seat to a woman, hating her for it; the woman hating him for not doing it; at worst a squalid phantasmagoria of breath, and old cloth on human bodies and the smells of the food men ate—at best just people—too hot or too cold, tired, worried.
He pictured the rooms where these people lived—where the patterns of the blistered wallpapers were heavy reiterated sunflowers on green and yellow backgrounds, where there were tin bathtubs and gloomy hallways and verdureless, unnamable spaces in back of the buildings; where even love dressed as seduction—a sordid murder around the corner, illicit motherhood in the flat above. And always there was the economical
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