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Why Isn't Gatsby in the Public Domain?

When The Great Gatsby rolls out to theaters across the country this weekend, it will bring to the screen a story familiar to millions from a literary classic that's often dubbed the proverbial "Great American Novel." Here’s what many folks don’t know: even though the book was published nearly 90 years ago and is a long-established part of our shared cultural heritage, it has not yet entered the public domain.
Yes, even though F. Scott Fitzgerald died 73 years ago (and is therefore unlikely to be incentivized to produce more work), The Great Gatsby is still restricted by copyright.
In fact, it won't be truly free to the American public until January 1, 2021 — and even then only if copyright terms aren't extended again. Thanks to the 1998 Sonny Bono Copyright Term Extension Act, nopublished US works will enter the public domain until 2019.1 Some countries have slightly saner copyright terms, but the U.S. Trade Rep is working diligently to use international agreements like the TPP to ratchet up terms around the world.
Still worse, a tragic 2012 Supreme Court decisiondeclared that even once in the public domain, works can be yanked back out by Congressional action. Between excessively long copyright terms and the uncertainty of public domain status, creating new works that depend on the commons has become difficult and dangerous.
We feel the pernicious practical effects of lengthy copyright terms every day. For example, a study last year of books on Amazon showed that books published after the critical public domain cut-off date of 1923 are available at a dramatically lower rate than books from even an entire century before. The result is a "missing 20th century" in the history of books.
Nor is the problem confined to books. Another study by an MIT economist examined an archive of baseball magazines that included some issues in the public domain and some still burdened by copyright. By contrast, images from the public domain issues can be digitized and redistributed, and so their availability has greatly improved the quality—and thus increased the readership and editing engagement—of Wikipedia articles on baseball players from that era.
You may or may not care about particular baseball players from the 1960s, but the situation repeats itself over and over again across different fields. In the name of preserving profits for a handful of rightsholders, our cultural history is left to decay in legally imposed obscurity.
A diminished public domain doesn't just rob us of past works, but of the future works that could rely on an expanded public domain. Rightsholders have the power to veto derivative works simply by refusing to license the  works. And if the rightsholder can't be tracked down or confirmed — a real possibility when we’re talking about works that are nearly a hundred years old — the difficulty of getting a license can halt production altogether.
Ironically, this hurts the same studios that pushed the Copyright Term Extension Act in the first place. Adapting well-known works is a powerful way to reach an audience familiar with the characters and story, and a strong public domain provides fertile grounds for new works. For example, Disney’s early films mined the public domain freely, leading to classic versions of well-known fairy tales, but its lobbying for expanded copyright restrictions has deprived others — and the public — of the same possibilities.
Gatsby director Baz Luhrmann himself took advantage of the public domain with his 1996 filmRomeo + Juliet. The movie was, of course, a heavily modernized and modified version of Shakespeare's classic play—exactly the kind of thing that a rightsholder might veto for "artistic integrity," if there were a Shakespeare "estate" that were as good at lobbying as Disney and the MPAA.

But it was also a critical and popular success, racking up nearly $150 million at the box office, and the world of film would be a poorer place without it. It should be obvious to Hollywood the value of the public domain as a critical component of a thriving creative culture—both in artistic terms and economic ones. Bloating the copyright term may have seemed like a fine way to protect that year's profits, but ultimately it comes at a great cost to both Hollywood and the public interest.

Who is the best American novelist: 7. Willa Cather v F Scott Fitzgerald

You nominated the contenders – now reader Matthew Spencer pits Cather's Death Comes for the Archbishop against Fitzgerald's The Beautiful and Damned

The last bout saw Thomas Pynchon's The Crying of Lot 49 triumph against Carson McCullers' The Member of the Wedding. Who will be next to make it through to the next round?
I'd recently read Fitzy's tight masterpiece, The Great Gatsby, and embarked upon the Beautiful and Damned with an eager heart. Whilst they share the same themes of tragedy and failure and the dangers of a material existence, Gatsby has that perfect structure. The Beautiful and Damned is a bit more flabby but no less stylish. Fitzgerald's main character Anthony Patch has, like most of us, an artistic temperament without an artistic talent. He is the heir to his grandfather's fortune and is afforded a generous allowance that he uses to wine and dine and run around New York with his beautiful and carefree friends.
As time moves on, so do most of his friends into positions of responsibility and success. Anthony and Gloria remain stubbornly carefree, waiting for their payday. But Anthony's grandfather, the sober social reformer, becomes impatient with his wayward grandson and disinherits him and his frivolous wife. While the first half of the novel is an exercise in frippery, a well-written farce of high living, the second half becomes dark and brooding and much more up my street. Fitzgerald's warnings have not been heeded and we still live in an increasingly materialistic world obsessed by youth and beauty.
But Oh, Willa Cather: this was my epiphany. Death comes for the Archbishop is the story of two Catholic priests, two Frenchmen, dispatched to New Mexico to awaken a slumbering Catholicism in the harsh desert. It is a place populated by Indians, Mexicans and frontiersmen and governed by derelict priests roving endless prairies.
It manages to surpass one of my favourite novels, Charles Portis's True Grit, in its depiction of the ragged density of frontier life. It is less a flowing, single story than a series of vignettes that give a a glorious insight into the early racial mix of America. The civilized Frenchmen bring fine food and good manners as much as doctrine, and the saintly Latour goes about his duties gently but with a determination of spirit that is forcibly embodied by his more pragmatic friend, the Father Valliant. I was blown away by the simple power of Cather's storytelling. She basks in the details and the story, and for that I am forever beholden. This is a book to be read again and again.

John Dos Passos and Glenway Westcott Remember F. Scott Fitzgerald


"In Memory of F. Scott Fitzgerald"
February 17, 1941

F. Scott Fitzgerald died 72 years ago Saturday. Soon afterward, The New Republic, calling him a voice of his post-World War I generation, began publishing tributes by writers of his own generation and the generation younger than his. Two of them—by John Dos Passos and Glenway Westcott—are published below.
"Fitzgerald and the Press"
The notices in the press referring to Scott Fitzgerald’s untimely death produce in the reader the same strange feeling that you have, when after talking about some topic for an hour with a man, it suddenly covers over you that neither you nor he has understood a word of what the other was saying. The gentlemen who wrote these pieces obviously know something about writing the English language, and it should follow that they know how to read it. But shouldn’t the fact that they have set themselves up to make their living as critics of the work of other men furnish some assurance that they recognize the existence of certain standards in the art of writing? If there are no permanent standards, there is no criticism possible. Don’t these gentlemen know that all this gabble about the Younger Generation, proletarian novelists and the twenties and the thirties is just advertising man’s bilge?
A well-written book is a well-written book whether it's written under Louis XIII or Joe Stalin or on the wall of a tomb of ah Egyptian Pharaoh. It's the quality of detaching itself from its period while embodying its period that marks a piece of work as good. I would have no quarrel with any critic who examined Scott Fitzgerald's work and declared that in his opinion it did not detach itself from its period. My answer would be that my opinion was different. The strange thing about these pieces that came out about Fitzgerald's death is that the writers seem to feel that they don't need to read his books; all they need for a license to shovel them into the ashcan is to label them as having been written in such and such a period now past. This leads us to die inescapable conclusion that these gentlemen have no other standards than the styles of window dressing on Fifth Avenue. It means that when they write about literature all they are thinking of is the present rating of a book on the exchange, a matter which has almost nothing to do with its eventual value. For a man who is making his living as a critic to write about Scott Fitzgerald without mentioning The Great Gatsby just means that he doesn't know his business. Many people consider The Great Gatsby one of the few classic American novels. I do myself. Obviously such a judgment is debatable. But to write about the life of a man as important to American letters as the author of The Great Gatsby in terms of last summer's styles in ladies' hats, shows an incomprehension of what it is all about, that, to anyone who cares for the art of writing, is absolutely appalling.
-John Dos Passos

"The Moral of Scott Fitzgerald"
F. Scott Fitzgerald is dead, aged forty-four. Requiescat in pace; ora pro nobis. In the twenties, his heyday, he was a kind of king of our American youth; and as the news of his end appeared in the papers there were strange coincidences along with it. A number of others—a younger writer who was somewhat of his school and, like him, had committed his talent unfortunately to Hollywood, and that writer's pretty, whimsical wife, and another young woman who was a famous horse-trainer, and the young leader of a popular jazz-band—also met sudden deaths that week. I was reminded of the holocausts by which primitive rulers were provided with an escort, servants, and pretty women and boon companions, for eternity. The twenties were heaven, so to speak, often enough; might not heaven be like the twenties? If it were, in one or two particulars, Scott Fitzgerald would be sorry; sorry once more.
His health failed, and with a peculiar darkness and deadweight in mind and heart, some five years ago. Then in a wonderful essay entitled "The Crack Up" he took stock of himself, looking twenty years back for what flaws were in him or in the day and age, what early damage had been done, and how. Thanks to that, one can speak of his weaknesses without benefit of gossip, without impertinence. And so I do, asking for charity toward him and clarity about him; and a little on my own mortal account; and for certain innocent immature American writers' benefit.
My theme is as usual personality rather than esthetics; but my sentiment on this occasion is not personal. Aside from our Midwestern birth and years of foreign residence, you could scarcely find two men of the same generation less alike than we two. Neither our virtues nor our vices appeared to overlap at all. I did not have the honor of his particular friendship. I have only one vivid memory of conversation with him, which was on a Mediterranean beach.
Across the Bay of Angels and over the big good-for-nothing city of Nice, some of the Alps hung in the air as pearly as onions; and that air and that sea, which has only delicate tides, quivered with warm weather. It was before the publication of The Sun Also Rises, the summer of 1925 or 1926, and Hemingway was what he wanted to talk to me about. He came abruptly and drew me a little apart from our friends and relations, into the shade of a rock.
Hemingway had published some short stories in the dinky de-luxe way in Paris; and I along with all the literary set had discovered him, which was fun; and when we returned to New York we preached the new style and peculiar feeling of his fiction as if it were evangel. Still, that was too slow a start of a great career to suit Fitzgerald. Obviously Ernest was the one true genius of our decade, he said; and yet he was neglected and misunderstood and, above all, insufficiently remunerated. He thought I would agree that The Apple of the Eye and The Great Gatsby were rather inflated market values just then. What could I do to help launch Hemingway? Why didn't I write a laudatory essay on him? With this questioning, Fitzgerald now and then impatiently grasped and shook my elbow.
There was something more than ordinary art-admiration about it, but on the other hand it was no mere matter of affection for Hemingway; it was so bold, unabashed, lacking in sense of humor. I have a sharp tongue and my acquaintances often underestimate my good nature; so I was touched and flattered by Fitzgerald's taking so much for granted. It simply had not occurred to him that unfriendliness or pettiness on my part might inhibit my enthusiasm about the art of a new colleague and rival. As a matter of fact, my enthusiasm was not on a par with his; and looking back now, I am glad for my sake that it was not. He not only said but, I believe, honestly felt that Hemingway was inimitably, essentially superior. From the moment Hemingway began to appear in print, perhaps it did not matter what he himself produced or failed to produce. He felt free to write just for profit, and to live for fun, if possible. Hemingway could be entrusted with the graver responsibilities and higher rewards such as glory, immortality. This extreme of admiration—this excuse for a morbid belittlement and abandonment of himself—was bad for Fitzgerald, I imagine. At all events he soon began to waste his energy in various hack-writing.
I was told last year that another talented contemporary of ours had grown so modest in the wage-earning way, fallen so far from his youthful triumph, that he would sign a friend's stories and split the payment. Under the friend's name it would have been hundreds of dollars, and under his, a thousand or thousands. Perhaps this was not true gossip, but it is a good little exemplary tale, and of general application. It gives me goose-flesh. A signature which has been so humiliated is apt never to be the same again, in the signer's own estimation. As a rule the delicate literary brain, the aching creative heart, cannot stand that sort of thing. It is better for a writer even to fancy himself a Messiah, against the day when writing or life goes badly. And there is more to this than the matter of esthetic integrity. For if his opinion of himself is divided by disrespect—sheepish, shameful, cynical—he usually finds his earning capacity as well as his satisfaction falling off. The vast public, which appears to have no taste, somehow senses when it is being scornfully talked down to. The great hacks are innocent, and serenely class themselves with Tolstoy and Dickens. Their getting good enough to compare with P. G. Wodehouse or Zane Grey may depend upon that benign misapprehension.
Probably Fitzgerald never fell into any abuse of his reputation as unwise and unwholesome as the above-mentioned confrères. His standard of living did seem to the rest of us high. Publishers in the twenties made immense advances to novelists who had and could lend prestige; and when in the thirties Fitzgerald's popularity lapsed, movies had begun to be talkies, which opened up a new lucrative field of literary operation. Certainly he did write too much in recent years with his tongue in his cheek; his heart in his boots if not in his pocket. And it was his opinion in 1936 that the competition and popular appeal of the films—"a more glittering, a grosser power," as he put it—had made the God-given form of the novel archaic; a wrong thought indeed for a novelist.
This is not the ideal moment to reread and appraise his collectable works. With the mind sit at a loss, muffled like a drum—the ego a little inflamed as it always is by presentness of death—we may exaggerate their merit or their shortcomings. I remember thinking, when the early best sellers were publishers, that his style was a little too free and easy; but I was a fussy stylist in those days. His phrasing was almost always animated and charming; his diction excellent. He wrote very little in slang or what I call baby talk: the pitfall of many who specialized in American contemporaneity after him. But for other reasons—obscurity of sentiment, facetiousness—a large part of his work may not endure, as readable reading matter for art's sake. It "will be precious as documentary evidence, instructive examine. That is not, in the way of immortality, what the writer hopes; but it is much more than most writers of fiction achieve.
This Side of Paradise haunted the decade like a song, popular but perfect. It hung over an entire youth-movement like a banner, somewhat discolored and wind-worn now; the wind has lapsed out of it. But a book which college boys really read is a rare thing, not to be dismissed idly or in a moment of severe sophistication. Then there were dozens of stories, some delicate and some slap-dash; one very odd, entitled "Head and Shoulders." I love The Great Gatsby. Its very timeliness, as of 1925, gave it a touch of the old-fashioned a few years later; but I have reread it this week and found it all right; pleasure and compassion on every page. A masterpiece often seems a period-piece for a while; then comes down out of the attic, to function anew and to last. There is a great deal to be said for and against his final novel, Tender Is the Night. On the whole I am warmly for it. To be sane or insane is a noble issue, and very few novels take what might be called an intelligent interest in it; this does, and gives a fair picture of the entertaining expatriate habit of life besides.
In 1936 in three issues of Esquire he published the autobiographical essay, "The Crack Up," as it were swan-song. I first read it at my barber's, which, I suppose, is according to the editorial devices of that magazine, a medium of advertising for men's ready-made clothing. There is very little in world literature like this piece: Max Jacob's "Défense de Tartufe"; the confidential chapter of "The Seven Pillars of Wisdom," perhaps; Sir Walter Raleigh's verse-epistle before his beheading, in a way. Fitzgerald’s theme seems more dreadful, plain petty stroke by stroke; and of course his treatment lacks the good grace and firmness of the old and old-style authors. Indeed it is cheap here and there, but in embarrassment rather than in crudity or lack of courage. Or perhaps Fitzgerald as he wrote was too sensitive to what was to appear along with it in the magazine: the jokes, the Petty girls, the haberdashery. He always suffered from an extreme environmental sense. Still it is fine prose and naturally his timeliest piece today: self-autopsy and funeral sermon. It also, with an innocent air, gravely indicts our native idealism in some respects, our common code, our college education. And in general—for ailing civilization as well as one dead Fitzgerald—this is a day of wrath.
He had made a great recovery from a seemingly mortal physical illness; then found everything dead or deadish in his psyche, his thought all broken, and no appetite for anything on earth. It was not from alcohol, he said, evidently proud of the fact that he had not had any for six months, not even beer. We may be a little doubtful of this protestation; for protestation indeed is a kind of sub-habit of the alcoholic. Six months is not time at all, in terms of the things that kill us. Alcohol in fact never exclusively cases anything. On, just as it will enlighten a happy experience, it will deepen a rut or a pit, in the way of fatigue chiefly. Who cares, when a dear one is dying oaf a chest-cold or an embolism, whether he is a drunkard or a reformed ex-drunkard?—Yes, I know, the dying one himself cares! But when Fitzgerald wrote his essay he still had five years to live, quite a long time. It was not about ill health, and of course he was as sane as an angel. His trouble just then and his subject was only his lassitude of imagination; his nauseated spirit; that self-hypnotic state of not having any will-power; and nothing left of the intellect but inward observation and dislike. Why, he cried, why was I "identified with the objects of my horror and compassion"? He said it was the result of "too much anger and too many tears.” That was his snap-judgment; blunt sentimentality of a boy or ex-boy. But since he was a storyteller above all, he did not stop at that; he proceeded to tell things about the past in which the mystery showed extraordinarily.
"The Crack Up" has never been issued in book form; and perhaps because the pretty pictures in Esquire are so exciting to thumb-tack up on die wall, back numbers of it are not easy to come by. So I am tempted to try to summarize it all; but no, it must be published. Especially the first half is written without a fault: brief easy fiery phrases—the thinking that he compared to a "moving about of great secret trunks," and "the heady villainous feeling"—one quick and thorough paragraph after another, with so little shame and so little emphasis that I have wondered if he himself knew how much he was confessing.
He still regretted his bad luck in not getting abroad into the trenches as an army officer in 1918, and even his failure at football in 1913 or 1914. On certain of those unlucky days of his youth he felt as badly as in 1936, and badly in the same way; he makes a point of the similarity. Perhaps the worst of the early crises came in his junior year, when he lost the presidency of one of the Princeton clubs. Immediately afterward, as an act of desperation and consolation, he made love for the first time; and also that year,  not until then, he turned to literary art, as the best of a bad bargain. Ominous! Fantastic, too, that a man who is dying or at least done with living—one who has had practically all that the world affords, fame and prosperity, work and play, love and friendship, and lost practically all—should still think seriously of so much fiddledeedee of boyhood! Very noble convictions underlay Fitzgerald's entire life, and he explains them nobly. But when he comes to the disillusionment, that too is couched in alumnal imagery; it is along with "the shoulder-pads worn for one day on the Princeton freshman football field and the overseas cap never worn overseas" that his ideals are relegated to the junk-heap, he says. It is strange and baroque; like those large bunches of battle-trappings which appear decoratively in seventeenth century architecture, empty helmets and empty cuirasses and firearms laid crossways, sculptured up on the lintels of barracks and on the lids of tombs. Those condemned old European societies which have been too much militarized, too concerned with glory and glorious death, scarcely seem more bizarre than this: a kind of national consciousness revolving to the bitter end around college; and the latter also seems a precarious basis for a nation.
Aside from his literary talent—literary genius, self-taught—I think Fitzgerald must have been the worst educated man in the world. He never knew his own strength; therefore nothing inspired him very definitely to conserve or budget it. When he was a freshman, did the seniors teach him a manly technique of drinking, with the price and penalty of the several degrees of excess of it? If they had, it might never have excited him as a vague, fatal moral issue. The rest of us, his writing friends and rivals, thought that he had the best narrative gift of the century. Did the English department at Princeton try to develop his admiration of that fact about himself, and make him feel the burden and the pleasure of it? Apparently they taught him rather to appreciate this or that other writer, to his own disfavor. Did any worldly-wise critic ever remind him that beyond a certain point, writing for profit becomes unprofitable; bad business as well as bad art? Another thing: My impression is that only as he wrote, or just before writing, Tender Is the Night, did he discover certain causes and gradation of mental illness which, nowadays, every boy ought to be taught as soon as he has mastered the other facts of life.
Even the army failed to inculcate upon Lieutenant Fitzgerald one principle that a good army man must accept heroism is a secondary virtue in an army. Lieutenant Fitzgerald had no business pining for the front-line trenches in advance of his superior officers' decision that it was that place for him. The point of soldiering is to kill; not a mere willingness to be killed. This seems important today, as we prepare again for perhaps necessary war, and again too much is made of the spirit of self-sacrifice and embattlement of ideals; and not enough of the mere means of victory. And with reference to literature, too, as Fitzgerald drops out of our insufficient little regiment, we writers particularly blame him for that all-out idealism of his. No matter what he died for—if he died for anything—it was in too great a hurry; it was not worth it at his age.
In several of the obituary notices of Fitzgerald I detect one little line of mistaken moralizing, which I think is not uncommon; and his example and his fiction may have done something to propagate it. They seem to associate all rebellious morality somehow with a state of poor health. This an unfair attack, and on the other hand a too easy alibi. Bad behavior is not always a feeble, pitiful, fateful thing. Malice of mind, strange style, offensive subject matter, do not always derive from morbid psyche or delicate physique.  Wickedness is not necessarily weakness; and vice versa.  For there is will-power in humanity. Its genuine manifestation is only in the long run; but, with knowledge, it can have the last word. Modern psychology does not deny it. Whether one is a moralist or an immoralist—a vengeful daily preacher like Mr. Westbrook Pegler, or an occasional devil's advocate like myself, or the quietest citizen—these little distinctions ought to be kept clear.
Fitzgerald was weak; we have the proof of it now in his demise. Fitzgerald, the outstanding aggressor in the little warfare which divided our middle classes in the twenties—warfare of moral emancipation against moral conceit, flaming youth against old guard—definitely has let his side down. The champion is as dead as a doornail. Self-congratulatory moral persons may crow over him if they wish.
There is bound to be a slight anger at his graveside; curse-words amid our written or spoken obsequies. The whole school of writers who went to France has been a bit maligned while the proletarian novelists and the politico-critics have enjoyed the general applause. Some of us are reckless talkers, and no doubt we have maligned each other and each himself, as well. It was the beautiful, talented Miss Stein in her Paris salon who first called us "the lost generation.” It was Hemingway who took up the theme and made it a popular refrain. The twenties were in fact a time of great prosperity and liberty, a spendthrift and footloose time; and especially in France you got your American money's worth of everything if you were clever. Still I doubt whether, in dissipation and unruly emotion, we strayed much farther out of the way than young Americans ordinarily do, at home as abroad. I think we were somewhat extraordinarily inclined to make youthful rebelliousness, imprudent pursuit of pleasure or ambition, a little easier for our young brothers. Heaven knows how it will be for our sons.
In any case, time is the real moralist; and a great many of the so-called lost are still at hand, active and indeed conspicuous: Bishop and Hemingway and Bromfield and Cummings and V. Thomson and Tate, Gordon and Porter and Flanner and others, the U. S. A.'s odd foreign legion. We were a band of toughs in fact, indestructible, which perhaps is the best thing to be said for us at this  point. For the next step is to age well. Relatively speaking, I think we are aging well; giving evidence of toughness in the favorable sense as well: tenacity and hardiness, and a kind of worldly wisdom that does not have to change its platform very often, and skepticism mixed in with our courage to temper it and make it last. Sometimes we are still spoken of as the young or youngish or "younger" writers, but there can be no sense in that, except by lack of competition; every last one of us is forty. That is the right age to give advice to the immature and potential literary generation. For their sake, lest they feel unable to take our word for things, it seems worthwhile to protest against the strange bad name we have had.
In any case we are the ones who know about Fitzgerald. He was our darling, our genius, our fool. Let the young people consider his untypical case with admiration but great caution; with qualms and a respect for fate, without fatalism. He was young to the bitter end. He lived and he wrote at last like a scapegoat, and now has departed like one. As you might say, he was Gatsby, a greater Gatsby. Why not? Flaubert said, "Madame Bovary, c'est moi!"  On the day before Christmas, in a sensible bitter obituary, The New York Times quoted a paragraph from "The Crack Up" in which the deceased likened himself to a plate. "Sometimes, though, the cracked plate has to be kept in service as a household necessity. It can never be warmed up on the stove nor shuffled with the other plates in the dishpan; it will not be brought out for company but it will do to hold crackers late at night or to go into the ice-box with the left-overs." A deadly little prose-poem! No doubt the ideals Fitzgerald acquired in college and in the army—and put to the test on Long Island and in the Alpes Maritimes and in Hollywood—always were a bit second-hand, fissured, cracked if you like. But how faithfully he reported both idealization and ordeal; and how his light smooth earthenware style dignifies it!
The style in which others have written of him is different. On the day after Christmas, in his popular column in The New York World-Telegram, Mr. Westbrook Pegler remarked that his death "recalls memories of a queer bunch of undisciplined and self-indulgent brats who were  determined not to pull their weight in the boat and wanted the world to drop everything and sit down and hawl with them. A kick in the pants and a clout over the scalp were more like their needing. . ." With a kind of expert politeness throughout this in memoriam, Mr. Pegler avoids commenting upon the dead man himself exactly. His complaint is of anonymous persons: the company Fitzgerald kept, readers who let themselves be influenced by him,  and his heroes and heroines: "Sensitive young things about whom he wrote and with whom he ran to fires not only because he could exploit them for profit in print but  because he found them congenial. . ." I suppose Mr. Pegler's column is profitable too; and if I were doing it I should feel easier in my mind, surer of my aim, if I knew and liked my exploitees. Joking aside, certainly this opinion of his does not correspond in the least to my memory of the gay twenties. Certainly if sensitive young men and women of the thirties believe Pegler, they will not admire Fitzgerald or like the rest of us much.
Too bad; there should be peace between the generations now, at least among the literary. Popularity or no popularity, we have none too many helpful friends; and in a time of world war there may be panic and conservatism and absent-mindedness and neglect of literature in general, and those slight acts of obscure vengeance so easy to commit when fellow citizens have begun to fear and imagine and act as a mass. There should not be any quarrel between literature and journalism either. Modernly conceived and well-done literary men sticking to the truth and newspapermen using imagination—they relate to each other very closely, and may sustain and inspire each other back and forth. In a time of solemn subject matter it is more and more needful that they should.
In any case Mr. Pegler's decade is out as well as ours; the rude hard-working thirties as well as the wild twenties. The forties have come. Those of us who have been youthful too long—which, I suppose, is the real point of his criticism—now certainly realize our middle age; no more time to make ready or dawdle, nor energy to waste. That is one universal effect of war on the imagination: time, as a moral factor, instantly changes expression and changes pace. Everyman suddenly has a vision of sudden death.
What is the difference, from the universal angle? Everyone has to die once; no one has to die twice. But now that mortality has become the world's worst worry once more, there is less sophistication of it. Plain as day we see that the bull in the arena is no more fated than the steer in the slaughterhouse. The glamorous gangster's cadaver with bellyful of bullets is no deader than the commonplace little chap overcome by pernicious anemia. Napoleon III at the battle of Sedan, the other battle of Sedan, rouged his cheeks in order not to communicate his illness and fright to his desperate army. An unemployed young actor, a friend of a friend of mine, lately earned a living for a while by rouging cheeks of well-off corpses at a smart mortician's. All this equally—and infinitude of other things under the sun—is jurisdiction of death. The difference between a beautiful death and an ugly death is in the eye of the beholder, the heart of the mourner, the brain of the survivor.
The fact of Scott Fitzgerald's end is as bad and deplorable as could be; but the moral of it is good enough, and warlike. It is to enliven the rest of the regiment. Mere tightening the belt, stiffening the upper lip, is not all I mean; nor the simple delight of being alive still, the dance on the grave, the dance between holocausts. As we have it—documented and prophesied by his best work, commented upon in the newspaper with other news of the day—it is a deep breath of knowledge, fresh air, and an incitement to particular literary virtues.
For the private life and the public life, literary life and real life, if you view them in this light of death—and now we have it also boding on all the horizon, like fire—are one and the same. Which brings up another point of literary criticism; then I have done. The great thing about Fitzgerald was his candor; verbal courage; simplicity. One little man with eyes really witnessing; objective in all he uttered, even about himself in a subjective slump; arrogant in just one connection, for one purpose only, to make his meaning clear. The thing, I think, that a number of recent critics have most disliked about him is his confessional way, the personal tone, the tête-à-tête or man-to-man style, first person singular. He remarked it himself in "The Crack Up": "There are always those to whom all self-revelation is contemptible.” I on the other hand feel a real approval and emulation of just that; and I recommend that all our writers give it serious consideration. It might be the next esthetic issue and new mode of American letters. It is American enough; our greatest fellows, such as Franklin and Audubon and Thoreau and Whitman, were self-expressers in so far as they knew themselves. This is a time of greater knowledge, otherwise worse; an era which has as many evil earmarks as, for example, the Renaissance: awful political genius running amok and clashing, migrations, races whipped together as it were by a titanic egg-beater, impatient sexuality and love of stimulants and cruelty, sacks, burnings and plagues. Fine things eventually may be achieved amid all this, as in that other century. I suggest revelation of man as he appears to himself in his mirror—not as he poses or wishes or idealizes—as one thing to try a revival of, this time. Naked truth about man's nature in unmistakable English.
In the Renaissance they had anatomy: Vesalius in Paris at midnight under the gallows-tree, bitten by the dogs as he disputed with them the hanged cadavers which they wanted to eat and he wanted to cut up. They had anatomy and we have psychology. The throws of dice in our world—at least the several dead-weights with which, the dice appear to be loaded against us—are moral matters; and no one ever learns much about all that except in his own person, at any rate in private. In public, in the nation and the inter-nation and the anti-nation, one just suffers the weight of the morality of others like a dumb brute. This has been a dishonest century above all: literature lagging as far behind, modern habits as behind modern history; democratic statesmanship all vitiated by good form, understatement, optimism; and the nations which could not afford democracy, finally developing their supremacy all on a basis of the deliberate lie. And now is the end, or another beginning.
Writers in this country still can give their little examples of truth-telling; little exercise of their fellow citizens, to develop their ability to distinguish truth from untruth in other connections when it really is important. The importance arises as desperately in the public interest as in private life. Even light fiction can help a society get together and agree upon its vocabulary; little strokes of the tuning-fork, for harmony’s sake. And for clarity's sake, let us often use, and sanction the use of, words of one syllable. The shortest and most potent is the personal pronoun: I. The sanctified priest knows that, he says credo;  and the trustworthy physician only gives his opinion, not a panacea. The witness in the courtroom does not indulge in the editorial we; the judge and the lawyers will not allow it; and indeed, if the case is important, if there is life or liberty or even a large amount of money at stake, not even supposition or hearsay is admitted as evidence. Our worldwide case is important.
Not only is Anglo-Saxondom all at war with the rest of the world in defense of its accustomed power and prosperity, and of the luxuries of the spirit such as free speech, free publication, free faith—for the time being, the United States is the likeliest place for the preservation of the Mediterranean and French ideal of fine art and writing: which puts a new, peculiar obligation upon us ex-expatriates. The land of the free should become and is becoming a city of refuge; but there is cultural peril even in that. France has merely committed her tradition to our keeping, by default; whereas Germany has exiled to us her most important professors and brilliant writers. Perhaps the latter are bound to introduce into our current literature a little of that mystically philosophic, obscurely scientific mode which somewhat misled or betrayed them as a nation. Therefore we must keep up more strictly and energetically than ever, our native specific skeptical habit of mind; our plainer and therefore safer style.
In any consideration of the gravity of the work of art and letters—and upon any solemn occasion such as the death of a good writer like Scott Fitzgerald—I think of Faust, and that labor he dreamed of when he was blind and dying, keeping the devil waiting. It was the drainage of a stinking sea-marsh and the construction of a strong dyke. Fresh fields amid the eternally besieging sea: room for a million men to live, not in security—Goethe expressly ruled out that hope of which we moderns have been too fond—but free to do the best they could for themselves. Does it seem absurd to compare a deceased best seller with that mythic man: former wholesome Germany's demigod? There must always be some pretentiousness about literature or else no one would take its pains or endure its disappointments. Throughout this article I have mixed bathos with pathos, joking with tenderness, in order to venture here and there a higher claim for literary art than is customary now. I am in dead earnest. Bad writing is in fact a rank feverish unnecessary slough. Good writing is a dyke, in which there is a leak for every one of our weary hands. And honestly I do see the very devil standing worldwide in the decade to come, bound to get some of us. I realize that I have given an exaggerated impression of Fitzgerald's tragedy in recent years: all the above is based on his confession of 1936, and he was not so nearly finished as he thought. But fear of death is one prophecy that never fails; and now his strength is only in print, and his weakness of no account, accept for our instruction.

-Glenway Westcott

The Iceberg: A Story by Zelda Fitzgerald

In 1918, Zelda Sayre, later Zelda Fitzgerald, won a prize for this story, which she published in the Sidney Lanier High School Literary Journal. She was seventeen or eighteen years old when she wrote it; she would soon meet F. Scott Fitzgerald, her escape hatch from the restrictive world of Montgomery, Alabama, into a tumultuous life of literary striving. The story was recently unearthed, and the Fitzgerald estate was surprised to learn of its existence. The heroine of “The Iceberg” is Cornelia, a plucky young woman from an aristocratic Southern family, with no marriage prospects, who decides to seek her destiny at business college. She impresses a rich man with her dexterous typing, and, without telling her family, she marries him. When Zelda Fitzgerald’s granddaughter Eleanor Lanahan read the story, she said, “Who knew Zelda wrote stories before Scott entered her life? Who knew she’d give a working girl the happiest of destinies? This is a charming morality tale of sorts. Ironically, Cornelia’s ending up with a rich husband is her ultimate success. This is truly a fascinating story—about Zelda, the South, and women’s expectations in 1917 or so.” The tone is lighthearted, winking, and ironic, and the story seems to presage some of the tensions in Zelda’s own life: between independence and entanglement with a man, the twinned and, sometimes, conflicting desires to write and to be admired, and the pressures of a search for the right kind of self-expression. Read it in full below. (We’ve preserved most of the original spelling and typographical errors.)
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                                                              The Iceberg

Cornelia gazed out of the window and sighed, not because she was particularly unhappy, but because she had mortified her parents and disappointed her friends. Her two sisters, younger than she, were married and established for life long ago; yet here she remained at thirty years of age, like a belated apple or a faded bachelor’s button, either forgotten or not deemed worth the picking. Her father did not scold. He kindly suggested that perhaps Neilie would do more for herself if the rest of the family would leave her alone. Her brother said, “Cornie’s a fine girl and good looking enough, but she’s got no magnetism. A fellow might as well try to tackle an iceberg.” For all that, the family cat found her responsive enough, and the little fox-terrier fairly adored her, to say nothing of a blue jay that insisted upon a friendly dispute every time she stole to her retreat in the old-fashioned Southern garden. Her mother said, “Cornelia is not sympathetic. She looks at a man with her thoughts a thousand miles away, and no man’s vanity will stand for that. What good are beautiful clothes and musical genius if humanity is left out? No! No! Cornelia will never marry, Cornelia is my despair.”
Now Cornelia sometimes grew weary of disapproval and resented it. “Mother,” she would say, “is marriage the end and aim of life? Is there nothing else on which a woman might spend her energy? Sister Nettie is tied to a clerical man, and, between caring for the baby and making ends meet, looks older than I. Sister Blanche finds so little comfort in a worked-down husband that she has taken to foreign missions and suffrage for diversion. If I’m an economic proposition, I’ll turn to business.”
So, without more ado, she secretly took a course at business college, and taught the fingers that had rippled over Chopin and Chaminade to be equally dexterous on the typewriter. Her eyes seemed to grow larger and more luminous as she puzzled over the hieroglyphics of stenography.
“That Miss Holton is a wonder,” said the manager of the college. “Yes, she’s a social failure, but she bids fair to be a business success,” agreed a young man who had once fallen into her indifferent keeping.
Just then the phone rang. “At once, you say! Wait a moment, I’ll see.” Proceeding softly to her desk, he said, “Miss Holton, I consider you quite efficient as a pupil. Do you care to answer an emergency call? The firm of Gimbel, Brown and Company wishes a stenographer at once. What do you say to the place?”
“What do I say? Why, it just hits the spot. Let me get my hat and I’m off.”
“Well,” said the manager, “I do like a girl who knows what she wants.”
If her mother could only have heard that! Perhaps, after all, Cornelia had always known what she wanted—and failed to find it. Perhaps, after all, a social equation in trousers had not been just what Cornelia craved. Perhaps, after all, Cornelia was seeking self-expression. At any rate, she lost no time in finding Gimbel, Brown and company, and was not the least aghast that this was the mighty multi-millionaire Gimbel who needed her services.
“Miss Holton, you say? Cornelia Holton, the daughter of my old friend, Dan Holton? Why bless your heart, have a seat! This is so sudden! When did you enter the business arena, pray?”
Cornelia was not abashed. With her usual straight-forward earnestness, she said, “Yes, I’m Cornelia Holton, and I’m in business to stay. If the arena is full of Bulls and Bears, I’m here to wrestle. What can I do for you, Mr. Gimble?”
With a twinkle in his eye and a queer little smile, he pushed toward her the pile of snowy paper and began to dictate. North, South, East, and West the messages flew, and Cornelia’s fingers flew with them. White, slender, and shapely, they graced the machine as they had the piano, and, when lunch hour came, her face had flushed, and the little brown curls clung to her forehead with a slight moisture of effort. Cornelia was beautiful over her first conquest of the typewriter!
As she rose to go, she blushed, and stammered, “Mr. Gimble, I’ll thank you not to tell my parents of this. They have no knowledge of my business enterprise and would be quite horrified. You know, nothing succeeds like success. I have been a failure long enough.” And she smiled as she left, the old grace of the distasteful ball-room clinging to her in spite of her steady resolve.
“Well, by jove!” exclaimed Mr. Gimble. “By Jove!” he reiterated, “who’d a thought a Holton woman would go into business! Why, that girl’s mother was the greatest belle that this city ever produced. Well, she couldn’t get married, maybe.” So he too, went his way thinking of the little wife that had died years ago and of the great emptiness that had taken her place and that he had tried to fill with money.
Several months flew by. The Holton’s had their shock when Cornelia announced her business success, and were again in the normal path of life. The cat said, “I told you so! I knew she had the element of success in her!” The little dog barked, “Doggone her! I always knew I didn’t wag my tail for nothing.” The blue jay noisily called, “Aw, come on now and let’s finish our dispute. You can build a nest if I can, and you can hatch a family, too, if you try. Aw go awn!” But that was nothing to what the society world said when Cornelia Holton and James G. Gimble walked quietly to the study of the Reverend Devoted Divine and were made one, eve: to the millions and the famous homestead was also a palace of art and aesthetic refinement.*