Answer to Trivia Question

ALL-TIME AMERICAN WRITERS TOURNAMENT

hem w 2nd wife

Time to give the answer to our Hemingway-Fitzgerald Trivia Question! We asked,

“In what two F. Scott Fitzgerald pop stories was a major character a thinly-disguised version of Ernest Hemingway?”

AFTER WE SENT the question to an array of literary experts, we received responses from two of them reminding us of F. Scott Fitzgerald’s “Philippe” stories published in Redbook magazine in 1934/35. The chief character Philippe is based on Fitzgerald’s intermittent hero worship of the younger writer. We haven’t read the stories, and don’t know if they’ve been anthologized. Thanks to Dr. Kirk Curnutt and Dr. Scott Donaldson for the information. (They can collect on our original prize of a free beer in Detroit at any time.)
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But while the Philippe answer is technically correct, we were thinking of two other, better known Scott Fitzgerald stories.

The first is “A Snobbish Story,” originally published in the Saturday Evening Post in November of 1930, then later by Scribner’s in a collection, The Basil and Josephine Stories. It’s an excellent story, with dialogue which still bites, between rich girl Josephine and a young Chicago journalist. The characterization of the journalist is superb– there are more than enough clues in it to determine this is a vivid portrayal of the young Ernest Hemingway.

“–his eyes were nearly black, with an intense, passionate light in them; his mouth was sensitive and strongly set.”

The character, John, is described as a large young man. John talks and behaves much like how the early Hemingway must’ve been. Brash, confident, outspoken; “extraordinarily handsome.” “I’m going to be a great writer someday,” he announces.

Josephine and the young man insult each other. She tells him, “I’m going into a convent or else to be a trained nurse in the war.” (The story is set in 1916, when the Great War was raging in Europe.) “Will you enlist in the French army and let me nurse you?”

This is not just a nod to Hemingway, who was famously nursed by a beautiful nurse in that war– it’s an obvious one, given that Hem’s A Farewell to Arms had been published a year before Scott wrote this story, and was still topping best-seller lists. The plot concerns an injured young man who falls in love with his nurse.

“I want to be the best writer in the world, that’s all,” the John character says. In 1930, Ernest Hemingway was in the process of becoming exactly that.

The clincher in deciding that the character is based on young Ernest Hemingway comes when the man’s wife shows up! “–a handsome girl–.” “Neither of us believed in the old-fashioned bourgeois marriage–” John tells Josephine, about his wife.

Ernest Hemingway had something of an open marriage with his first wife– at least after future second wife Pauline showed up!
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It’s not as if F. Scott Fitzgerald was NOT known for putting persons he knew into his fiction. He in fact did this time and again– most notably with his wife Zelda, but also with good friends the Murphys; with old college friends; with old girlfriends; with anyone and everyone. Hemingway was a large presence in Scott Fitzgerald’s life; first as protege; then, equal. In subtle ways, as rival.
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The second story completing the answer to our Trivia Question is “Financing Finnegan,” originally published in Esquire magazine in January 1938.

The timing and venue of this publication are telling. In 1936 Ernest Hemingway published, in Esquire, “The Snows of Kilimanjaro,” in which he mentioned F. Scott Fitzgerald by name in a disdainful way. Fitzgerald was highly embarrassed, to the extent of asking Ernest to change the name in any future appearances of the story. Hemingway complied. Was it payback time?

The character “Finnegan” is described by the narrator but never seen. The relationship between the two writers mimics that of Fitzgerald and Hemingway. They both have the same publisher. Finnegan receives the kind of large advances for his work that the narrator used to receive. Finnegan is working on a novel, “one of those great successful novels of his.” “There’s never been such a talent,” the narrator says, a bit sarcastically. “His was indeed a name with ingots in it.”

Finnegan is injury prone– as Hemingway famously was– and is also a world traveler, forever looking for new experiences, new material for his work. (He’s said to be at the North Pole, then in Norway.) The clincher comes when the narrator describes Finnegan’s work.

The writing is described as containing “–a shy frankness together with an impression of a very quiet brave battle going on inside of him that he couldn’t quite bring himself to talk about– but that showed as heat lightning in his work.”

Does that not describe the writing of Ernest Hemingway?

“–nobody ever denied that Finnegan could write.”

The story catches Finnegan between successes, when he’s straining the faith of his publisher. Everyone hopes he’ll come through with a “great, successful novel.” In the real world Ernest Hemingway would do this, when For Whom the Bell Tolls was released in 1940.

Overall the story is derogatory toward Finnegan. It strongly hints at Fitzgerald’s disillusionment with Hemingway, particularly when the narrator says, “I’ve taken it upon myself to investigate some of the stories about him–.” And found they were mostly fake.
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Hemingway was to have the last word in his memoir of the 1920’s, A Moveable Feast.

 

 

F. Scott Fitzgerald as Pop Writer

ALL-TIME AMERICAN WRITERS TOURNAMENT

Scott pensive

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.”)

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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.
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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.

 

Upping the Prize!

ALL-TIME AMERICAN WRITERS TOURNAMENT

saturday eve post cover

As there is yet to be a winner in our “Hemingway-Fitzgerald Trivia Question,” first presented here, we’re upping the prize a bit. We are now offering a $20 Starbucks gift card to the first correct answer posted here, or at the original blog post.

“But”– to quote Gertrude Stein’s famous final words– “what is the question?”

“In what two F. Scott Fitzgerald pop stories was a major character a thinly-disguised version of Ernest Hemingway?” 

Good luck!

 

#2 Selections Aftermath: Fuller Report

ALL-TIME AMERICAN WRITERS TOURNAMENT

Scott wide shot

As hinted at by the photos posted previously, the Tournament site became a wild place last Saturday after the #2 seed announcements.

The Big Four dropped back into town so Ernest Hemingway could join Scott Fitzgerald in the celebration. They held court at the new bistro. Norman Mailer joined the two for a time but couldn’t keep up with their drinking. Mailer was last seen staggering out the back door after losing an arm-wrestling contest to a grinning Hemingway. Mailer hasn’t been seen since. Scratch one of our commentators.

emily-dickinson painting
At the same time, Emily D joined the two friends. She wore a sleek white dress, and spoke to Scott while Hem was engaged in his arm-wrestling.

“I am small like the wren, and my hair is bold,” she told Scott, “as is my pen. If you would have the leisure to speak to me, I should feel quick gratitude.”

She fell instantly in love with him, but was also intensely intimidated by Scott and by the situation. While Hemingway bellowed nearby.

Fitzgerald’s green eyes were indeed entranced by the poet. He gazed at her wistfully– but two glasses of wine were too much for Emily and she fled back to her room, vowing to ever remain. Scratch our other commentator.

Fitzgerald was later carried off unconscious himself, but has promised not to take another drink while in training. An observer, Raymond Carver, remarked that this “was a good thing. A small thing, but a good thing.”

The rest of the night is blurry. Hemingway stood in the middle of the street challenging any writer to a fight. Herman Melville and Mark Twain wondered whether or not to intervene. Just then a dogsled pulled up. Jack London stepped out from behind the pack.

jack london
“What’s doing?” he asked.

Herman M pointed to swaggering Hem, as if to ask for a favor.

Jack London, an authentic tough guy, knocked the bear out with one punch. Melville thereupon picked up the sprawling writer, threw him over his shoulder, not without difficulty, and the Big Four went back to their camp to resume fishing in the morning.

The night culminated at the coffeeshop across the street, which was packed to the rafters when Jack Kerouac stepped to the podium.

jack-kerouac other
“This reading this coffeeshop this small all-American town incredible big porch big bridge in the mist this Emily Dickinson evening of beatitude writers everywhere without beginning or ending, heavenly, man. O Whitman! O Salinger! O Twain! It’s Saturday night all over America.

“I think of Hemingway bears, Scott purple pink ties, Mailer Pound Plath noisemakers hepcat Walt Whitman writers sucking on beers and pipes scratching into paper nutty wild jazzy sweet words people are yelling or whispering blown boom trombone insights and attitudes to the beat of their inner peace,

“I think of soft smart Wharton Eliot Updike Redcoats sky-high with their reps happy to be part of this sacred gathering prayerful celebration,

“I think of all writers everyplace carrying on the tradition, man, karmic drinking of this art this experience, this too-musical too-cool tournament give me the vibe the beat the bebop syncopation keeping me going man while I sneak out the back door back stairs back on the road back into the starry Van Gogh heavenly night.”
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Next: More analysis of F. Scott Fitzgerald and Ayn Rand. More “Appreciations” from real guest writers. Possibly an answer to our Trivia Question.

Hemingway-Fitzgerald Trivia Question

Fitzgerald Pat Hobby book cover

ALL-TIME AMERICAN WRITERS TOURNAMENT

To mark the placement of both Ernest Hemingway and F. Scott Fitzgerald into the big Tournament, as #1 and #2 bracket seeds respectively, we offer a quick trivia question to mark the occasion.

WE KNOW that Hemingway famously referred to Scott Fitzgerald in the widely anthologized short story, “The Snows of Kilimanjaro.”

OUR QUESTION:

“In what two F. Scott Fitzgerald pop stories was a major character a thinly-disguised version of Ernest Hemingway?”

OUR PRIZE:

A free beer on the editors of New Pop Lit, either in Detroit or the Detroit area, or during one of our visits to our second home city of Philadelphia. No time limit on payment.
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We’ll find out who knows the work of these two American literary giants thoroughly!

#2 Seeds Parties Report

ALL-TIME AMERICAN WRITERS TOURNAMENT

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paul whiteman record

The party for F. Scott Fitzgerald had music of the Paul Whiteman jazz band playing– on recording.
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josephine baker

Josephine Baker made an appearance, by all accounts was dancing.
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champagne

The Fitzgeralds sent their large champagne bill to the Tournament. WHAT?!!

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dollar sign

Celebration for Ayn Rand‘s inclusion in the Tournament was more subdued– she and a quiet circle of acolytes.
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ayn_rand_smoking

Ayn herself did most of the talking. Her long-suffering husband was in attendance.

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denyce graves

Opera star Denyce Graves was rumored to have sung at Toni Morrison‘s celebration. Graves has starred in the Morrison-penned opera “Margaret Garner.”

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Beatniks-1

While Jack Kerouac drank extensively at his own party, many of his “Beat” fans were more focused on smoking (not necessarily tobacco) and drinking coffee.

Beatniks

This party went late. Ended early morning with most partygoers on the floor– sleeping, or a few beatnik couples love making.

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trash 2

Four More Tournament Selections

ALL-TIME AMERICAN WRITERS TOURNAMENT

The #2 Bracket Seeds

These four literary giants are very different from one another in style, voice, background, and ideology. What they have in common is the expression of American striving.

scott and zelda

A.)  F. Scott Fitzgerald. The writer as myth. The most glamorous of all literary stars, Scott Fitzgerald wrote about the American Dream and lived it. With Fitzgerald the case to be made is why he isn’t a #1 seed. For two reasons. First, he didn’t influence and express the American voice to the same extent as our first four tourney candidates. Nobody talks like Fitzgerald or writes like him. Being the best means being unique– and he’s the best American writer, the best stylist, if not the most important. Second, Fitzgerald has never been as big on a world scale as the others. Other cultures never quite “got” him– a sign of how truly American Fitzgerald is. Still, he’s never been more appreciated– the artistic failure of the most recent “Gatsby” movie notwithstanding. Fitzgerald’s works– all his works– contain special magic, part of his uniquely American vision, which can’t be adequately translated to more superficial vehicles like movies and television.
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Ayn Rand
B.) Ayn Rand. The literary world for seventy years has refused to acknowledge this person, but it’s like trying to ignore the sun or the moon. Her influence on America is bigger than what has become quite a tiny literary world. Rand’s ideas and analysis are the world we live in now. America, with its oversized strengths and flaws, its egoism and materialism, is a Randian world. If we as advocates of literature ask literature to be a living part of the civilization, a necessary part of the argument, then Ayn Rand, more than any American writer, past or present, fulfills that role. The Reagan era took its ideas from her. The Tea Party of more recent years was part Jefferson, part Jesus, and part Ayn Rand. Atlas Shrugged alone sells half-a-million copies a year. Added note for the p.c. crowd: Ayn Rand was a feminist before there was feminism.

But, the writing? What about the writing? Despite the ostensible logic she claimed to express, Ayn Rand’s novels– even their ideas– are illusion. Her books are very much creative works of art. Passionate works, which is why they appeal to so many individuals. Flawed Atlas Shrugged is one of the most artistically ambitious American novels ever written. Her earlier masterwork The Fountainhead is one of the most accomplished– also one of the most overlooked, because the extreme ideology in the later novel infuriates so many establishment intellectuals, never more than in the present time. (New York Times Book Review editor Pamela Paul put Rand’s novels at the top of her “Hate Reading” list.)

I’ll address Ayn Rand and her work further in a separate post.
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Toni-Morrison 2
C.) Toni Morrison.  Did we include Toni Morrison as a #2 seed in the brackets to confound skeptics on both the Left and the Right? Perhaps. Toni Morrison was an essential writer to include in the tourney, not for America Future, but for America NOW.

Morrison allows us to bring American literature to its varied present while at the same time strengthening its tie to the past. Morrison has a unique voice– a big, loud, American voice– which at the same time is inextricably linked to founding American authors like Herman Melville and Harriet Beecher Stowe. If Ayn Rand’s viewpoint is part of the contemporary American argument, then so is Morrison’s. Her emergence as an author marked recognition of what had always been present; the contribution to American letters– to the creation of a unique American literature– of the African-American voice.

Our literature is NOT simply a transplant of European sensibilities onto this continent, but a fusion of many influences, many voices. From the nation’s beginnings, the black voice, which includes African folk tales, black music, black humor, has been an underground current seeping into other currents. A voice which was absorbed and changed itself by other voices. Those writers influenced by the black experience of America range from Joel Chandler to Carson McCullers to William Faulkner to the Beats. To even our verbose tourney friend Norman Mailer.

Here in this country, in this event, there’s no “white” literature or “black” literature, or this division or that one. There’s only American literature. One of the goals of the Tournament is to show that.

Besides, Toni Morrison isn’t just a renowned novelist. She’s also a dominating essayist, and has written the libretto for an opera– “Margaret Garner”– which is quite good.
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Kerouac w cigarette talking

D.) Jack Kerouac. As dynamic a persona, as mythic a person, and as American a voice as anyone. On the Road, his most influential book, is quintessentially American. As much as any work of literature, it captures and defines this country, which has always, always, been about the open road– the impulse toward freedom, the need to travel ever farther. Where, we’re not always sure. Fitzgerald called it a green light. Kerouac expressed the driving and striving on a more visceral level.
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We at New Pop Lit believe in the American experiment– in Gatsby’s “green light.”

-K.W.