The Beautiful and Damned by F. Scott Fitzgerald (best time to read books txt) 📕
Description
Anthony Patch, the grandson of a wealthy businessman, spends his youth in idle relaxation expecting to inherit his grandfather’s fortune. But when he meets Gloria, a vibrant young flapper, the two feel an irresistible attraction and quickly get married despite their clashing personalities.
The two embark on a lifestyle of Jazz Age living: hard partying, profligate spending, and generally living the high life. But Anthony’s prohibitionist grandfather soon finds out and disowns Anthony, sending their lifestyle crashing down from its former heights to intolerable indignity.
Like Fitzgerald’s previous novel, This Side of Paradise, and his next novel, The Great Gatsby, The Beautiful and Damned documents the life of the idle rich in America’s Jazz Age. Both Anthony and Gloria’s characters explore the problem of what one is left to do when one has no other purpose in life. Because Anthony’s expecting a large inheritance, his ambition is muzzled and he feels no need to embark on a career or participate in the betterment of society. Gloria’s main purpose in life was to find a husband; once she’s done that, what’s left except spending money and partying?
The relationship between Anthony and Gloria is the explosive propellant that drives the plot. The two are clearly a poor match for each other. While Anthony is an aimless aesthete who expects to inherit wealth and power, Gloria is a self-absorbed socialite mostly banking on her undisputed beauty. Their mutual selfishness leads to constant conflict, and eventually, to mutual dislike. But despite that, the two remain together, locked in to their self-absorption, lack of ambition, and obsession with the past, as Anthony descends into alcoholism and Gloria into desperate middle age.
Anthony and Gloria are fairly transparent fictionalizations of Fitzgerald himself and his wife Zelda. Their relationship was famously tumultuous, and parallels Anthony and Gloria’s highs and lows. Fitzgerald himself was born to upper-middle-class wealth and led a aimless youth before turning to the army and to writing; in his later years, he considered himself nothing more than a middling success and turned to writing for Hollywood before totally embracing the alcoholism he had courted since his college days, and that would finally kill him. Zelda, for her part, was a socialite and the canonical “flapper.” Beautiful and bubbly, she enabled the legendarily hard-partying lifestyle that fueled their bitter fights. Her mercurial disposition later led her to being committed to an asylum for schizophrenia. Even the cover illustration of the book’s first edition features a couple meant to resemble Fitzgerald and Zelda.
Today, The Beautiful and Damned is not just a glittering record of Jazz Age excess, it’s a nuanced character study of how expectation can ruin ambition, and how relationships aren’t always easy to endure—or to dissolve.
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- Author: F. Scott Fitzgerald
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“How do you do?” he said.
Her eyes were soft as shadows. Were they violet, or was it their blue darkness mingling with the gray hues of dusk?
“Pleasant evening,” ventured Anthony uncertainly.
“Sure is,” said the second girl.
“Hasn’t been a very pleasant evening for you,” sighed the girl in lilac. Her voice seemed as much a part of the night as the drowsy breeze stirring the wide brim of her hat.
“He had to have a chance to show off,” said Anthony with a scornful laugh.
“Reckon so,” she agreed.
They turned the corner and moved lackadaisically up a side street, as if following a drifting cable to which they were attached. In this town it seemed entirely natural to turn corners like that, it seemed natural to be bound nowhere in particular, to be thinking nothing. … The side street was dark, a sudden offshoot into a district of wild rose hedges and little quiet houses set far back from the street.
“Where’re you going?” he inquired politely.
“Just goin’.” The answer was an apology, a question, an explanation.
“Can I stroll along with you?”
“Reckon so.”
It was an advantage that her accent was different. He could not have determined the social status of a Southerner from her talk—in New York a girl of a lower class would have been raucous, unendurable—except through the rosy spectacles of intoxication.
Dark was creeping down. Talking little—Anthony in careless, casual questions, the other two with provincial economy of phrase and burden—they sauntered past another corner, and another. In the middle of a block they stopped beneath a lamppost.
“I live near here,” explained the other girl.
“I live around the block,” said the girl in lilac.
“Can I see you home?”
“To the corner, if you want to.”
The other girl took a few steps backward. Anthony removed his hat.
“You’re supposed to salute,” said the girl in lilac with a laugh. “All the soldiers salute.”
“I’ll learn,” he responded soberly.
The other girl said, “Well—” hesitated, then added, “call me up tomorrow, Dot,” and retreated from the yellow circle of the street-lamp. Then, in silence, Anthony and the girl in lilac walked the three blocks to the small rickety house which was her home. Outside the wooden gate she hesitated.
“Well—thanks.”
“Must you go in so soon?”
“I ought to.”
“Can’t you stroll around a little longer?” She regarded him dispassionately.
“I don’t even know you.”
Anthony laughed.
“It’s not too late.”
“I reckon I better go in.”
“I thought we might walk down and see a movie.”
“I’d like to.”
“Then I could bring you home. I’d have just enough time. I’ve got to be in camp by eleven.”
It was so dark that he could scarcely see her now. She was a dress swayed infinitesimally by the wind, two limpid, reckless eyes …
“Why don’t you come—Dot? Don’t you like movies? Better come.”
She shook her head.
“I oughtn’t to.”
He liked her, realizing that she was temporizing for the effect on him. He came closer and took her hand.
“If we get back by ten, can’t you? just to the movies?”
“Well—I reckon so—”
Hand in hand they walked back toward downtown, along a hazy, dusky street where a negro newsboy was calling an extra in the cadence of the local venders’ tradition, a cadence that was as musical as song.
Dot
Anthony’s affair with Dorothy Raycroft was an inevitable result of his increasing carelessness about himself. He did not go to her desiring to possess the desirable, nor did he fall before a personality more vital, more compelling than his own, as he had done with Gloria four years before. He merely slid into the matter through his inability to make definite judgments. He could say “No!” neither to man nor woman; borrower and temptress alike found him tender-minded and pliable. Indeed he seldom made decisions at all, and when he did they were but half-hysterical resolves formed in the panic of some aghast and irreparable awakening.
The particular weakness he indulged on this occasion was his need of excitement and stimulus from without. He felt that for the first time in four years he could express and interpret himself anew. The girl promised rest; the hours in her company each evening alleviated the morbid and inevitably futile poundings of his imagination. He had become a coward in earnest—completely the slave of a hundred disordered and prowling thoughts which were released by the collapse of the authentic devotion to Gloria that had been the chief jailer of his insufficiency.
On that first night, as they stood by the gate, he kissed Dorothy and made an engagement to meet her the following Saturday. Then he went out to camp, and with the light burning lawlessly in his tent, he wrote a long letter to Gloria, a glowing letter, full of the sentimental dark, full of the remembered breath of flowers, full of a true and exceeding tenderness—these things he had learned again for a moment in a kiss given and taken under a rich warm moonlight just an hour before.
When Saturday night came he found Dot waiting at the entrance of the Bijou Moving Picture Theatre. She was dressed as on the preceding Wednesday in her lilac gown of frailest organdy, but it had evidently been washed and starched since then, for it was fresh and unrumpled. Daylight confirmed the impression he had received that in a sketchy, faulty way she was lovely. She was clean, her features were small, irregular, but eloquent and appropriate to each other. She was a dark, unenduring little flower—yet he thought he detected in her some quality of spiritual reticence, of strength drawn from her passive acceptance of all things. In this he was mistaken.
Dorothy Raycroft was nineteen. Her father had kept a small, unprosperous corner store, and she had graduated from high school in the lowest fourth of her class two days before he died. At high school she had enjoyed a rather unsavory reputation. As a matter of fact her behavior at the class picnic,
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