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103 pages

English

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Published a year after The Great Gatsby, this short-story collection showcases many of the celebrated novel's themes, as well as its unique writing style. Two of the most famous tales, the beautifully elegiac 'The Rich Boy' and 'Winter Dreams', deal with wealthy protagonists - the old-money Anson Hunter and the self-made man Dexter Green - as they come to terms with lost love; while 'Absolution', in which a boy confesses to a priest, was initially written as a background piece to The Great Gatsby.

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Publié par	Alma Books
Date de parution	01 janvier 2018
Nombre de lectures	0
EAN13	9780714547305
Langue	English
Poids de l'ouvrage	3 Mo

Informations légales : prix de location à la page 0,0150€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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All the Sad Young Men
F. Scott Fitzgerald

ALMA CLASSICS

Alma Classics Ltd London House 243-253 Lower Mortlake Road Richmond Surrey TW 9 2 LL United Kingdom www.almaclassics.com
All the Sad Young Men first published in 1926 This edition first published by Alma Books Ltd in 2013
Cover image © Corbis Images
Extra material © Richard Parker Notes © Alma Classics Ltd
Printed and bound by CPI Group (UK) Ltd, Croydon, CR 0 4 YY
isbn : 978-1-84749-304-0
All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings.
All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher.

Contents
All the Sad Young Men
The Rich Boy
Winter Dreams
The Baby Party
Absolution
Rags Martin-Jones and the Pr–nce of W–les
The Adjuster
Hot and Cold Blood
“The Sensible Thing”
Gretchen’s Forty Winks
Note on the Text
Notes
Extra Material
F. Scott Fitzgerald’s Life
F. Scott Fitzgerald’s Works
Select Bibliography

All the Sad Young Men

The Rich Boy
I
B egin with an individual and before you know it you find that you have created a type; begin with a type, and you find that you have created – nothing. That is because we are all queer fish, queerer behind our faces and voices than we want anyone to know or than we know ourselves. When I hear a man proclaiming himself an “average, honest, open fellow” I feel pretty sure that he has some definite and perhaps terrible abnormality which he has agreed to conceal – and his protestation of being average and honest and open is his way of reminding himself of his misprision.
There are no types, no plurals. There is a rich boy, and this is his and not his brothers’ story. All my life I have lived among his brothers, but this one has been my friend. Besides, if I wrote about his brothers I should have to begin by attacking all the lies that the poor have told about the rich and the rich have told about themselves – such a wild structure they have erected that when we pick up a book about the rich, some instinct prepares us for unreality. Even the intelligent and impassioned reporters of life have made the country of the rich as unreal as fairyland.
Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft where we are hard and cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand. They think, deep in their hearts, that they are better than we are, because we had to discover the compensations and refuges of life for ourselves. Even when they enter deep into our world or sink below us, they still think that they are better than we are. They are different. The only way I can describe young Anson Hunter is to approach him as if he were a foreigner and cling stubbornly to my point of view. If I accept his for a moment I am lost – I have nothing to show but a preposterous movie.
II
A nson was the eldest of six children who would some day divide a fortune of fifteen million dollars, and he reached the age of reason – is it seven? – at the beginning of the century when daring young women were already gliding along Fifth Avenue in electric “mobiles”. In those days he and his brother had an English governess who spoke the language very clearly and crisply and well, so that the two boys grew to speak as she did – their words and sentences were all crisp and clear and not run together as ours are. They didn’t talk exactly like English children, but acquired an accent that is peculiar to fashionable people in the city of New York.
In the summer the six children were moved from the house on 71st Street to a big estate in northern Connecticut. It was not a fashionable locality – Anson’s father wanted to delay as long as possible his children’s knowledge of that side of life. He was a man somewhat superior to his class, which composed New York society, and to his period, which was the snobbish and formalized vulgarity of the Gilded Age, and he wanted his sons to learn habits of concentration and have sound constitutions and grow up into right-living and successful men. He and his wife kept an eye on them as well as they were able until the two older boys went away to school, but in huge establishments this is difficult – it was much simpler in the series of small- and medium-sized houses in which my own youth was spent – I was never far out of the reach of my mother’s voice, of the sense of her presence, her approval or disapproval.
Anson’s first sense of his superiority came to him when he realized the half-grudging American deference that was paid to him in the Connecticut village. The parents of the boys he played with always enquired after his father and mother, and were vaguely excited when their own children were asked to the Hunters’ house. He accepted this as the natural state of things, and a sort of impatience with all groups of which he was not the centre – in money, in position, in authority – remained with him for the rest of his life. He disdained to struggle with other boys for precedence – he expected it to be given him freely, and when it wasn’t he withdrew into his family. His family was sufficient, for in the East money is still a somewhat feudal thing, a clan-forming thing. In the snobbish West, money separates families to form “sets”.
At eighteen, when he went to New Haven, Anson was tall and thick-set, with a clear complexion and a healthy colour from the ordered life he had led in school. His hair was yellow and grew in a funny way on his head, his nose was beaked – these two things kept him from being handsome – but he had a confident charm and a certain brusque style, and the upper-class men who passed him on the street knew without being told that he was a rich boy and had gone to one of the best schools. Nevertheless his very superiority kept him from being a success in college – the independence was mistaken for egotism, and the refusal to accept Yale standards with the proper awe seemed to belittle all those who had. So, long before he graduated, he began to shift the centre of his life to New York.
He was at home in New York – there was his own house with “the kind of servants you can’t get any more” – and his own family, of which, because of his good humour and a certain ability to make things go, he was rapidly becoming the centre, and the debutante parties, and the correct manly world of the men’s clubs, and the occasional wild spree with the gallant girls whom New Haven only knew from the fifth row. His aspirations were conventional enough – they included even the irreproachable shadow he would some day marry, but they differed from the aspirations of the majority of young men in that there was no mist over them, none of that quality which is variously known as “idealism” or “illusion”. Anson accepted without reservation the world of high finance and high extravagance, of divorce and dissipation, of snobbery and of privilege. Most of our lives end as a compromise – it was as a compromise that his life began.
He and I first met in the late summer of 1917 when he was just out of Yale and, like the rest of us, was swept up into the systematized hysteria of the war. In the blue-green uniform of the naval aviation he came down to Pensacola, where the hotel orchestras played ‘I’m Sorry, Dear’ * and we young officers danced with the girls. Everyone liked him, and though he ran with the drinkers and wasn’t an especially good pilot, even the instructors treated him with a certain respect. He was always having long talks with them in his confident, logical voice – talks which ended by his getting himself, or more frequently another officer, out of some impending trouble. He was convivial, bawdy, robustly avid for pleasure, and we were all surprised when he fell in love with a conservative and rather proper girl.
Her name was Paula Legendre, a dark, serious beauty from somewhere in California. Her family kept a winter residence just outside of town, and in spite of her primness she was enormously popular; there is a large class of men whose egotism can’t endure humour in a woman. But Anson wasn’t that sort, and I couldn’t understand the attraction of her “sincerity” – that was the thing to say about her – for his keen and somewhat sardonic mind.
Nevertheless, they fell in love – and on her terms. He no longer joined the twilight gathering at the De Soto bar, and whenever they were seen together they were engaged in a long, serious dialogue, which must have gone on several weeks. Long afterwards he told me that it was not about anything in particular, but was composed on both sides of immature and even meaningless statements – the emotional content that gradually came to fill it grew up not out of the words but out of its enormous seriousness. It was a sort of hypnosis. Often it was interrupted, giving way to that emasculated humour we call fun; when they were alone it was resumed again – solemn, low-keyed and pitched so as to give each other a sense of unity in feeling and thought. They came to resent any interruptions of it, to be unresponsive to facetiousness about life, even to the mild cynicism