ALL-TIME AMERICAN WRITERS TOURNAMENT
According to Ernest Hemingway‘s testimony in A Moveable Feast, Scott Fitzgerald claimed to intentionally alter the ending of his short stories to make them more saleable. More palatable to Saturday Evening Post readers.
Yet when one reads Fitzgerald’s “pop” tales, their endings are as perfect, as apt, as artful, as those of his more highly-regarded works.
This is especially true of the “Basil and Josephine” stories, most of which are compact gems full of insight, beauty, and meaning.
Examine these two endings, each of which is a culmination of theme and plot:
from “Basil and Cleopatra”
“Jubal the impossible came up with an air of possession, and Basil’s heart went bobbing off around the ballroom in a pink silk dress. Lost again in a fog of indecision, he walked out on the veranda. There was a flurry of premature snow in the air and the stars looked cold. Staring up at them he saw that they were his stars as always– symbols of ambition, struggle and glory. The wind blew through them, trumpeting that high white note for which he always listened, and the thin-blown clouds, stripped for battle, passed in review. The scene was of an unparalleled brightness and magnificence, and only the practiced eye of the commander saw that one star was no longer there.”
from “A Snobbish Story”
“Then she caught her breath as the lights changed, the music quickened and at the head of the steps, Travis de Coppet in white-satin football suit swung into the spotlight a shimmering blonde in a dress of autumn leaves. It was Madelaine Danby, and it was the role Josephine would have played. With the warm rain of intimate applause, Josephine decided something: That any value she might have was in the immediate, shimmering present– and thus thinking, she threw in her lot with the rich and powerful of this world forever.”
(Hardly throwaway endings! Note: Both reflect disillusion and disappointment, and so are not exactly “happy.”)
F. Scott Fitzgerald’s “pop” stories are as sophisticated as his more famous works. In a few cases, more so.
What makes them important to the editors at New Pop Lit?
Fitzgerald’s pop stories point the way, more than his “serious” work, toward where literature needs to go NOW in 2017. Readability, humor, sparkle, punch– presented in unpretentious fashion available to all. The short story as lively as a pop song.
(As I’ve pointed out often, the short story was once THE popular American art form.)
F. Scott Fitzgerald’s pop stories are soaked in verve and style. A writer falling back on his past, consumed in memory and insight, not trying to overawe literary critics but simply writing. Letting his magical talent flow. They’re also very well written.
While today a Fitzgerald classic like “Babylon Revisited” seems a tad maudlin and contrived– the saloon Irishman crying in his beer at closing time– the pop tales are fun and very real.
FYI: With even the Hemingway-Fitzgerald experts unable to come up with the solution to our Trivia Question (we contacted a few of them), we’ll be giving and explaining the answer soon. Did we overreach? You’ll have to judge for yourself.