Fitzgerald Book Quotes

So we beat on, boats against the current, borne back ceaselessly into the past.

Great books write themselves, only bad books have to be written.

An artist is someone who can hold two opposing viewpoints and still remain fully functional.

I wish I could write a beautiful book to break those hearts that are soon to cease to exist: a book of faith and small neat worlds and of people who live by the philosophies of popular songs.

Human sympathy has its limits.

There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses--bound for dust--mortal--

A book of verses underneath the bough A flask of wine, a loaf of bread and thou Beside me singing in the wilderness And wilderness is paradise now.

A good book is the precious life-blood of a master-spirit, embalmed and treasured up on purpose to a life beyond life, and as such it must surely be a necessary commodity.

I suppose books mean more than people to me anyway

A classic,' suggested Anthony, 'is a successful book that has survived the reaction of the next period or generation. Then it's safe, like a style in architecture or furniture. It's acquired a picturesque dignity to take the place of its fashion.

Read a verse of Homer and you can walk the walls of Troy alongside Hector; fall into a paragraph by Fitzgerald and your Now entangles with Gatsby’s Now; open a 1953 book by Ray Bradbury and go hunting T. rexes. Ursula Le Guin said: “Story is our only boat for sailing on the river of time,” and she’s right, of course. The shelves of every library in the world brim with time machines. Step into one, and off you go.

Go on, she urged. Lie to me by the moonlight. Do a fabulous story.

When I read the actual story-how Gatsby loves Daisy so much but can't ever be with her no matter how hard he tries-I feel like ripping the book in half and calling up Fitzgerald and telling him his book is all wrong, even though I know Fitzgerald is probably deceased. Especially when Gatsby is shot dead in his swimming pool the first time he goes for a swim all summer, Daisy doesn't even go to his funeral, Nick and Jordan part ways, and Daisy ends up sticking with racist Tom, whose need for sex basically murders an innocent woman, you can tell Fitzgerald never took the time to look up at clouds during sunset, because there's no silver lining at the end of that book, let me tell you.

And so we beat on, books against the critics, borne back ceaslessly into rewrites.

He snatched the book from me and replaced it hastily on its shelf, muttering that if one brick was removed the whole library was liable to collapse.

As for Tom, the fact that he "had some woman in New York" was really less surprising than that he had been depressed by a book. Something was making him nibble at the edge of stale ideas as if his sturdy physical egotism no longer nourished his peremptory heart.

The Great Gatsby's my favorite book," he says. "F. Scott Fitzgerald dedicated it to Zelda." "His wife?" I say. "Yeah. His crazy-ass wife who he had no business loving that much," he says, giving me a loaded look. "You know what their joint epitaph says? It's a quote from the book... Their kid picked it for them." I shake my head. "What's it say?" His eyes close halfway as he recites, "So we beat on, boats against the current, borne back ceaselessly into the past.

Every author ought to write every book as if he were going to be beheaded the day he finished it.

Author note re: Torn (Book #2)..."There are all kinds of love in the world, but never the same love twice!" ~ F. Scott Fitzgerald

Oh, it doesn't get me. I'm pretty well cloistered, and I suppose books mean more than people to me anyway.

How about your favorite book?" "This Side of Paradise by From. Scott Fitzgerald." "Why?" "Because it was the last one I read." This made them laugh because they knew I meant it honest, not show-off. Then they told me their favorites, and we sat quiet.

I want it to smell of magnolias instead of peanuts and I want my shoes to crunch on the same gravel that Lee's boots crunched on. There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses--bound for dust--mortal--

Whenever you feel like criticzing any one," he told me, "just remember that all the people in this world haven´t had the advantages that you've had.

There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses - bound for dust - mortal.

They damned the books I read and the things I thought by calling them immoral; later the fashion changed, and they damned things by calling them ‘clever.

Then she added in a sort of childish delight: 'We'll be poor, won't we? Like people in books. And I'll be an orphan and utterly free. Free and poor! What fun!' She stopped and raised her lips to him in a delighted kiss. 'It's impossible to be both together,' said John grimly. 'People have found that out. And I should choose to be free as preferable of the two...

It may be that The Great Gatsby is as perfect, word for word, just in terms of English; but Ulysses is deeper, richer, wider – and is comic, whereas The Great Gatsby is a tragic novel. And I think all great art is comic art. (video)

Only Gatsby, the man who gives his name to this book, was exempt from my reaction -- Gatsby, who represented everything for which I have an unaffected scorn ... No -- Gatsby turned out all right in the end; it was what prayed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and the short-winded elations of men.

NO MUSE IS GOOD MUSE To be an Artist you need talent, as well as a wife who washes the socks and the children, and returns phone calls and library books and types. In other words, the reason there are so many more Men Geniuses than Women Geniuses is not Genius. It is because Hemingway never joined the P.T.A. And Arthur Rubinstein ignored Halloween. Do you think Portnoy's creator sits through children's theater matinees--on Saturdays? Or that Norman Mailer faced 'driver's ed' failure, chicken pox or chipped teeth? Fitzgerald's night was so tender because the fender his teen-ager dented happened when Papa was at a story conference. Since Picasso does the painting, Mrs. Picasso did the toilet training. And if Saul Bellow, National Book Award winner, invited thirty-three for Thanksgiving Day dinner, I'll bet he had help. I'm sure Henry Moore was never a Cub Scout leader, and Leonard Bernstein never instructed a tricycler On becoming a bicycler just before he conducted. Tell me again my anatomy is not necessarily my destiny, tell me my hang-up is a personal and not a universal quandary, and I'll tell you no muse is a good muse unless she also helps with the laundry.

Well, it's a fine book, and everybody ought to read it.

I have read Lolita, as you requested. It is a good book, and therefore you should try to sell it to the inhabitants of Hardborough. They won't understand it, but that is all to the good. Understanding makes the mind lazy.

And, after boasting this way of my tolerance, I come to the admission that it has a limit. Conduct may be founded on the hard rock or the wet marshes, but after a certain point I don’t care what it’s founded on. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction—Gatsby, who represented everything for which I have an unaffected scorn.

there's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses--bound for dust--mortal--" a small boy appeared beside them and, swinging a handful of banana peels, flung them valiantly in the direction of the potomac.

Amory wandered slowly up the avenue and thought of the night as inevitably his-- the pageantry and carnival of rich dusk and dim streets... it seemed that he had closed the book of fading harmonies at last and stepped into the sensuous vibrant walks of life. Everywhere these countless lights, this promise of a night of streets and singing-- he moved in a half-dream through the crowd as if expecting to meet Rosalind hurrying toward him with eager feet from every corner... How the unforgettable faces of dusk would blend to her, the myriad footsteps, a thousand overtures, would blend to her footsteps; and there would be more drunkenness than wine in the softness of her eyes on his. Even his dreams now were faint violins drifting like summer sounds upon the summer air.

What is a gentleman, anyway? He's a man who prefers the first edition of a book to the last edition of a newspaper.

There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses—bound for dust—mortal—

I'd known since girlhood that I wanted to be a book editor. By high school, I'd pore over the acknowledgments section of novels I loved, daydreaming that someday a brilliant talent might see me as the person who 'made her book possible' or 'enhanced every page with editorial wisdom and insight.' Could I be the Maxwell Perkins to some future Hemingway, Fitzgerald, Wolfe?

I have lived so long within the circle of this book and with these characters that often it seems to me that the real world does not exist but that only these characters exist, and however pretentious that remark sounds... it is an absolute fact-- so much so that their glees and woes are just exactly as important to me as what happens in life.

Opening the shop gave her, every morning, the same feeling of promise and opportunity. The books stood as neatly ranged as Gipping's vegetables, ready for all comers.

Books mean more than people to me anyway.

A good book is the precious life-blood of a masterspirit, embalmed and treasured up on purpose to a life beyond life, and as such it must surely be a necessary commodity.

extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again.

Lady Sylvia flapped across the room like an opaque protoplasm propelling itself over a sand-bank.

You've been through all of F. Scott Fitzgerald's books, you're very well read, it's well known.

I've found that I can always do the things that people do in books. Really they are the only things I can do.

A stout, middle-aged man, with enormous owl-eyed spectacles, was sitting somewhat drunk on the edge of a great table, staring with unsteady concentration at the shelves of books. As we entered he wheeled excitedly around and examined Jordan from head to foot. “What do you think?” he demanded impetuously. “About what?” He waved his hand toward the book-shelves. “About that. As a matter of fact you needn’t bother to ascertain. I ascertained. They’re real.” “The books?” He nodded. “Absolutely real — have pages and everything. I thought they’d be a nice durable cardboard. Matter of fact, they’re absolutely real. Pages and — Here! Lemme show you.” Taking our scepticism for granted, he rushed to the bookcases and returned with Volume One of the “Stoddard Lectures.” “See!” he cried triumphantly. “It’s a bona-fide piece of printed matter. It fooled me. This fella’s a regular Belasco. It’s a triumph. What thoroughness! What realism! Knew when to stop, too — didn’t cut the pages. But what do you want? What do you expect?

It is also about loss, about the perishability of dreams once they are transformed into hard reality. It is the longing, its immateriality, that makes the dream pure. What we in Iran had in common with Fitzgerald was this dream that became our obsession and took over our reality, this terrible, beautiful dream, impossible in its actualization, for which any amount of violence might be justified or forgiven. This was what we had in common, although we were not aware of it then. Dreams, Mr Nyazi, are perfect ideals, complete in themselves. How can you impose them on a constantly changing, imperfect, incomplete reality? You would become a Humbert, destroying the object of your dream; or a Gatsby, destroying yourself. When I left the class that day, I did not tell them what I myself was just beginning to discover: how similar our own fate was becoming to Gatsby's. He wanted to fulfill his dream by repeating the past, and in the end he discovered that the past was dead, the present a sham, and there was no future. Was this not similar to our revolution, which had come in the name of our collective past and had wrecked our lives in the name of a dream?

I enjoy very little leisure in the evenings. But don’t misunderstand me, I find a good book at my bedside of incalculable value. When I eventually retire I’ve no sooner read a few pages than I’m overwhelmed with sleep.

He tries to go to life. So does every author except the very worst, but after all most of them live on predigested food. The incident or character may be from life, but the writer usually interprets it in terms of the last book he read. For instance, suppose he meets a sea captain and thinks he's an original character. The truth is that he sees the resemblance between the sea captain and the last sea captain Dana created, or who-ever creates sea captains, and therefore he knows how to set this sea captain on paper

Cat Rambo: Where do you think the perennial debate between what is literary fiction and what is genre is sited? Norman Spinrad: I think it’s a load of crap. See my latest column in Asimov’s, particularly re The Road by Cormac McCarthy. I detest the whole concept of genre. A piece of fiction is either a good story well told or it isn’t. The supposed dichotomy between “literary fiction” and “popular fiction” is ridiculous. Hemingway, Fitzgerald, Mailer, did not have serious literary intent? As writers of serious literary intent, they didn’t want to be “popular,” meaning sell a lot of books? They wanted to be unpopular and have terrible sales figures to prove they were “serious”? I say this is bullshit and I say the hell with it. “Genre,” if it means anything at all, is a restrictive commercial requirement. “Westerns” must be set in the Old West. “Mysteries” must have a detective solving a crime, usually murder. “Nurse Novels” must have a nurse. And so forth. In the strictly literary sense, neither science fiction nor fantasy are “genres.” They are anti-genres. They can be set anywhere and anywhen except in the mimetic here and now or a real historical period. They are the liberation of fiction from the constraints of “genre” in an absolute literary sense.

I just think of people," she continued, "whether they seem right where they are and fit into the picture. I don't mind if they don't do anything. I don't see why they should; in fact it always astonishes me when anybody does anything." "You don't want to do anything?" "I want to sleep." -Gloria Gilbert "Once upon a time all the men of mind and genius in the world became of one belief--that is to say, of no belief. But it wearied them to think that within a few years after their death many cults and systems and prognostications would be ascribed to them which they had never meditated nor intended. So they said to one another: "'Let's join together and make a great book that will last forever to mock the credulity of man. Let's persuade our more erotic poets to write about the delights of the flesh, and induce some of our robust journalists to contribute stories of famous amours. We'll include all the most preposterous old wives' tales now current. We'll choose the keenest satirist alive to compile a deity from all the deities worshipped by mankind, a deity who will be more magnificent than any of them, and yet so weakly human that he'll become a byword for laughter the world over--and we'll ascribe to him all sorts of jokes and vanities and rages, in which he'll be supposed to indulge for his own diversion, so that the people will read our book and ponder it, and there'll be no more nonsense in the world. "'Finally, let us take care that the book possesses all the virtues of style, so that it may last forever as a witness to our profound scepticism and our universal irony.' "So the men did, and they died. "But the book lived always, so beautifully had it been written, and so astounding the quality of imagination with which these men of mind and genius had endowed it. They had neglected to give it a name, but after they were dead it became known as the Bible." -Maury Noble

Some men escape the grip. Maybe their wives have no social ambitions; maybe they've hit a sentence or two in a 'dangerous book' that pleased them; maybe they started on the treadmill as I did and were knocked off. Anyway, they're the congressmen you can't bribe, the Presidents who aren't politicians, the writers, speakers, scientists, statesmen who aren't just populate grab-bags for a half-dozen women and children.

It’s been bothering me more and more that I can’t ever see anything objectively, that every observation I make is filtered through my personal lens whether I like it or not. I mean, all my favorite novels are like that. F. Scott Fitzgerald basically is Gatsby, so obviously it’s Gatsby’s book, and Daisy comes off like a flake. But maybe in Daisy’s unwritten book, Gatsby is a flashy, patronizing asshole who thinks he could win her with money and fancy stuff. And that might be an even better book. Eventually,

Um bom livro é o precioso sangue vital de um espírito mestre, embalsamado e entesourado de propósito para uma vida para lá da vida.

I wish I was in print. It will be odd a year or so from now when Scottie assures her friends I was an author and finds that no book is procurable.

A classic,” suggested Anthony, “is a successful book that has survived the reaction of the next period or generation.

There was the union of his soul with Gloria's, whose radiant fire and freshness was the living material of which the dead beauty of books was made.

The clean book bill will be one of the most immoral measures ever adopted. It will throw American art back into the junk heap.

Sacrifice by its very nature was arrogant and impersonal; sacrifice should be eternally supercilious. Weep not for me but for thy children.

Thoughts are Things; things that have a tendency to transform into our reality.

my yacht. I don’t mind going for a coupla hours’ cruise. I’ll even lend you that book so you’ll have something to read on the revenue

Authors whose books were selected as ASEs were rewarded with a loyal readership of millions of men. Word spread quickly about the titles that were perennial favorites, even reaching the home front. F. Scott Fitzgerald’s The Great Gatsby, which was written in 1925, was considered a failure during Fitzgerald’s lifetime. But when this book was printed as an ASE in October 1945, it won the hearts of an army of men. Their praise reverberated back home, and The Great Gatsby was rescued from obscurity and has since become an American literary classic.

He never had time to read on the outside, but here he joins a book club where they discuss The Great Gatsby and The Beautiful and Damned and Tender Is The Night with a fervent young professor who seems unaware that anyone other than F. Scott Fitzgerald has ever written a book.

mai avevano comunicato così profondamente, di quando lei sfiorò le labbra silenziose contro la sua spalla o di quando lui le sfiorò la punta delle dita, delicatamente, come se lei dormisse.

ToScottie March 11, 1939 p. 387- 388 And please do not leave good books half- finished, you spoil them for yourself...Don't be so lavish as to ruin masterpieces for yourself. There are not enough of them!

Not only for that night but for the days and weeks that followed his books were to be but furniture and his friends only people who lived and walked in a nebulous outer world from which he was trying to escape.

Right behind Hugh came Prayin’ Diah Smith, and then Jim Clyman, and after them the boy Jim Bridger, and quiet book-learned John S. Fitzgerald, and proud George Yount, and Augie Neill and Jim Anderson, and durable Tom Fitzpatrick, and gaunt Allen and horseface Rose the interpreter—all the lads who’d come to parley under the cottonwood.

I mean, what kind of literature do you think ants would make if they could read? Not F. Scott Fuckin’ Fitzgerald, not Joyce or D-D—D-Dostoyevsky, not even friggin’ Steinbeck. Wouldn’t make any sense to ’em. You ever read Nabokov’s Lolita? Best book of the twentieth century, but old-fashioned my friend, old fuckin’ fashioned. Same old story over and over again, one more guy mesmerized by his own dick, wandering around the wreckage of his life. Who the fuck cares about that? Give me the Knights of the Round Table! Give me Merlin! Or better, the “wine dark sea”! Much more interesting.

-¿Por qué cree que abrir una librería es inverosímil?-. ¿La gente de Hardborough no quiere comprar libros? -Han perdido el deseo por las cosas raras-dijo (...). (...) Y no me diga usted que los libros no constituyen una rareza en sí mismos.

One modern oratorio adaptation, The Gospel at Colonus (by Lee Breuer and Bob Telson, 1989), based on Robert Fitzgerald’s translation in our series, has been acclaimed by critics and audiences as a high point of twentieth-century adaptation of Greek tragedy.

When I read the actual story - how Gatsby loves Daisy so much but can't ever be with her no matter how hard he tries - I feel like ripping the book in half and calling up Fitzgerald and telling him his book is all wrong, even though I know Fitzgerald is probably deceased.

That first day I asked my students what they thought fiction should accomplish, why one should bother to read fiction at all. It was an odd way to start, but I did succeed in getting their attention. I explained that we would in the course of the semester read and discuss many different authors, but that one thing these authors all had in common was their subversiveness. Some, like Gorky or Gold, were overtly subversive in their political aims; others, like Fitzgerald and Mark Twain, were in my opinion more subversive, if less obviously so. I told them we would come back to this term, because my understanding of it was somewhat different from its usual definition. I wrote on the board one of my favorite lines from the German thinker Theodor Adorno: “The highest form of morality is not to feel at home in one’s own home.” I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.

Full disclosure: I would have patented that vaccine and not felt guilty about it for a second. I suspect I would have used the money to do dumb stuff I thought was awesome, like start an F. Scott Fitzgerald theme park. I assume everyone else would also do that. Why doesn’t a theme park devoted to books exist? It would be so much fun.

The siren soared again, closer at hand, and then, with no anticipatory roar and clamour, a dark and sinuous body curved into view against the shadows far down the high-banked track, and with no sound but the rush of the cleft wind and the clock like tick of the rails, moved towards the bridge - it was an electric train. Above the engine two vivid blurs of blue light formed incessantly a radiant crackling bar between them, which, like a spluttering flame in a lamp beside a corpse, lit for an instant the successive rows of trees and caused Gloria to draw back instinctively to the far side of the road. The light was tepid - the temperature of warm blood... The clicking blended suddenly with itself in a rush of even sound, and then, elongating in sombre elasticity, the thing roared blindly by her and thundered onto the bridge, racing the lurid shaft of fire it cast into the solemn river alongside. Then it contracted swiftly, sucking in its sound until it left only a reverberant echo, which died upon the farther bank.

I DON’T WANT TO REPEAT MY INNOCENCE. I JUST WANT THE PLEASURE OF LOSING IT AGAIN.” Excerpt From: Kunze, Lauren. “The Ivy.” HarperCollins. iBooks. F Scott Fitzgerald

If books could kill, I would have written more of them before I died.

Twelve scrap books, telling us what wonderful or horrible or mediocre people we were

don't think of getting out of bed yet. I've always suspected that early rising in early life makes one nervous. Clothilde

They talk as an English butler might after several years in a Chicago grand-opera company.

It seemed a tragedy to want nothing—and yet he wanted something, something. He knew in flashes what it was—some path of hope to lead him toward what he thought was an imminent and ominous old age.

And I had the high intention of reading many other books besides. I was rather literary in college — one year I wrote a series of very solemn and obvious editorials for the “Yale News.”— and now I was going to bring back all such things into my life and become again that most limited of all specialists, the “well-rounded man.” This isn’t just an epigram — life is much more successfully looked at from a single window, after all.

I wanted him to tell me more about how he’d done it, written a whole entire novel, and about what he liked to read, and I wanted to tell him what I liked to read, and then we could talk about things from those books.

I don’t know how to cure the source-itis except to tell you that I can discover a good many possible sources myself for Wise Blood but I am often embarrassed to find that I read the sources after I had written the book. I have been exposed to Wordsworth’s “Intimation” ode but that is all I can say about it. I have one of those food-chopper brains that nothing comes out of the way it went in. The Oedipus business comes nearer home. Of course Haze Motes is not an Oedipus figure but there are the obvious resemblances. At the time I was writing the last of the book, I was living in Connecticut with the Robert Fitzgeralds. Robert Fitzgerald translated the Theban cycle with Dudley Fitts, and their translation of the Oedipus Rex had just come out and I was much taken with it. Do you know that translation? I am not an authority on such things but I think it must be the best, and it is certainly very beautiful. Anyway, all I can say is, I did a lot of thinking about Oedipus.

There was so much to read for one thing and so much fine health to be pulled down out of the young breath-giving air. I bought a dozen volumes on banking and credit and investment securities and they stood on my shelf in red and gold like new money from the mint, promising to unfold the shining secrets that only Midas and Morgan and Maecenas knew. And I had the high intention of reading many other books besides. I was rather literary in college—one year I wrote a series of very solemn and obvious editorials for the ‘Yale News’—and now I was going to bring back all such things into my life and become again that most limited of all specialists, the ‘well-rounded man.’ This isn’t just an epigram—life is much more successfully looked at from a single window, after all.

Once upon a time all the men of mind and genius in the world became of one belief—that is to say, of no belief. But it wearied them to think that within a few years after their death many cults and systems and prognostications would be ascribed to them which they had never meditated nor intended. So they said to one another: "'Let's join together and make a great book that will last forever to mock the credulity of man. Let's persuade our more erotic poets to write about the delights of the flesh, and induce some of our robust journalists to contribute stories of famous amours. We'll include all the most preposterous old wives' tales now current. We'll choose the keenest satirist alive to compile a deity from all the deities worshipped by mankind, a deity who will be more magnificent than any of them, and yet so weakly human that he'll become a byword for laughter the world over—and we'll ascribe to him all sorts of jokes and vanities and rages, in which he'll be supposed to indulge for his own diversion, so that the people will read our book and ponder it, and there'll be no more nonsense in the world. "'Finally, let us take care that the book possesses all the virtues of style, so that it may last forever as a witness to our profound scepticism and our universal irony.' "So the men did, and they died. "But the book lived always, so beautifully had it been written, and so astounding the quality of imagination with which these men of mind and genius had endowed it. They had neglected to give it a name, but after they were dead it became known as the Bible.

Nobody seems to bore you," he objected "About half the world do," she admitted, "but I think that’s a pretty good average, don’t you?" and she turned to find something in Browning that bore on the subject. She was the only person he ever met who could look up passages and quotations to show him in the middle of conversation, and yet not be irritating to distraction. She did it constantly, with such serious enthusiasm that he grew fond of watching her golden hair bent over a book, brow wrinkled so little at hunting her sentence.

Don't you want to preserve old things? But you can't, Anthony. Beautiful things grow to a certain height and then they fail and fade off, breathing out memories as they decay. And just as any period decays in our minds, the things of that period should decay too, and in that way they're preserved for a while in the few hearts like mine that react to them. That graveyard at Tarrytown, for instance. The asses who give money to preserve things have spoiled that too. Sleepy Hollow's gone; Washington Irving's dead and his books are rotting in our estimation year by year - then let the graveyard rot too, as it should, as all things should. Trying to preserve a century by keeping its relics up to date is like keeping a dying man alive by stimulants. So you think that just as time goes to pieces its houses ought to go too? Of course! Would you value your Keats letter if the signature was traced over to make it last longer? It's just because I love the past that I want this house to look back on its glamorous moment of youth and beauty, and I want its stars to creak as if to the footsteps of women with hoop-skirts and men in boots and spurs. But they've made it into a blondined, rouged-up old woman of sixty. It hasn't any right to look so prosperous. It might care enough for Lee to drop a brick now and then. How many of these - these animals - get anything from this, for all the histories and guide-books and restorations in existence? How many of them who think that, at best, appreciation is talking in undertones and walking on tiptoes would even come here if it was any trouble? I want it to smell of magnolias instead of peanuts and I want my shoes to crunch on the same gravel that Lee's boots crunched on. There's no beauty without poignancy and there's no poignancy without the feeling that it's going, men, names, books, houses - bound for dust - mortal-

We go in and sit on the sofa by the fire to dry out, and she plays her favourite records, lots of Rickie Lee Jones and Led Zeppelin and Donovan and Bob Dylan - even though she was sixteen in 1982, there's definitely something very 1971 about Alice. I watch as she jumps around the room to 'Crosstown Traffic' by Jimi Hendrix, then when she's out of breath and tired of changing records every three minutes she puts a crackly old Ella Fitzgerald LP on, and we lie on the sofa and read our books, and steal glances at each other every now and then, like that bit between Michael York and Liza Minnelli in Cabaret, and talk only when we feel like it.

Work!" she scoffed. "Oh, you sad bird! You bluffer! Work—that means a great arranging of the desk and the lights, a great sharpening of pencils, and 'Gloria, don't sing!' and 'Please keep that damn Tana away from me,' and 'Let me read you my opening sentence,' and 'I won't be through for a long time, Gloria, so don't stay up for me,' and a tremendous consumption of tea or coffee. And that's all. In just about an hour I hear the old pencil stop scratching and look over. You've got out a book and you're 'looking up' something. Then you're reading. Then yawns—then bed and a great tossing about because you're all full of caffeine and can't sleep.

you can't have _any_thing, you can't have anything at all. Because desire just cheats you. It's like a sunbeam skipping here and there about a room. It stops and gilds some inconsequential object, and we poor fools try to grasp it—but when we do the sunbeam moves on to something else, and you've got the inconsequential part, but the glitter that made you want it is gone—

I’m not interested in teaching books by women... Usually at the beginning of the semester a hand shoots up and someone asks why there aren’t any women writers in the course. I say I don’t love women writers enough to teach them, if you want women writers go down the hall. What I teach is guys. Serious heterosexual guys. F. Scott Fitzgerald, Chekhov, Tolstoy. Real guy-guys. Henry Miller. Philip Roth.

Something not going well, Mr. Boxley?" The novelist looked back at him in thunderous silence. "I read your letter," said Stahr. The tone of the pleasant young headmaster was gone. He spoke as to an equal, but with a faint two-edged deference. "I can't get what I write on paper," broke out Boxley. "You've all been very decent, but it's a sort of conspiracy. Those two hacks you've teamed me with listen to what I say, but they spoil it--they seem to have a vocabulary of about a hundred words." "Why don't you write it yourself?" asked Stahr. "I have. I sent you some." "But it was just talk, back and forth," said Stahr mildly. "Interesting talk but nothing more." Now it was all the two ghostly attendants could do to hold Boxley in the deep chair. He struggled to get up; he uttered a single quiet bark which had some relation to laughter but non to amusement, and said: "I don't think you people read things. The men are duelling when the conversation takes place. At the end one of them falls into a well and has to be hauled up in a bucket." He barked again and subsided. Would you write that in a book of your own, Mr. Boxley?" "What? Naturally not." "You'd consider it too cheap." "Movie standards are different," said Boxley, hedging. "Do you ever go to them?" "No--almost never." "Isn't it because people are always duelling and falling down wells?" Yes--and wearing strained facial expressions and talking incredible and unnatural dialogue." "Skip the dialogue for a minute," said Stahr. "Granted your dialogue is more graceful than what these hacks can write--that's why we brought you out here. But let's imagine something that isn't either bad dialogue or jumping down a well.

Only Gatsby, the man who gives his name to this book, was exempt from my reaction — Gatsby, who represented everything for which I have an unaffected scorn. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life, as if he were related to one of those intricate machines that register earthquakes ten thousand miles away.

You can imagine Herman Melville coming to his publisher with his new manuscript. They ask him what it's about, and he says, 'It's about a one-legged captain who's had his leg bitten off by a whale.' It wouldn't have sounded that promising. Fitzgerald wrote Gatsby, he was told you couldn't write seriously about a bootlegger. If a man cares intensely enough about tiddley winks, his book about tiddley winks ill be a great novel.

Lots of talk lately about the GREAT AMERICAN NOVEL that seems to be exclusively masculine. And how many of the characters in the GENIUS BOOKS are likable? Is Holden Caulfield likable? Is Meursault in The Stranger? Is Henry Miller? Is any character in any of these system novels particularly likable? Aren’t they usually loathsome but human, etc., loathsome and neurotic and obsessed? In my memory, all the characters in Jonathan Franzen are total douchebags (I know, I know, I’m not supposed to use that, feminine imagery, whatever, but it is SO satisfying to say and think). How about female characters in the genius books? Was Madame Bovary likable? Was Anna Karenina? Is Daisy Buchanan likable? Is Daisy Miller? Is it the specific way in which supposed readers HATE unlikable female characters (who are too depressed, too crazy, too vain, too self-involved, too bored, too boring), that mirrors the specific way in which people HATE unlikable girls and women for the same qualities? We do not allow, really, the notion of the antiheroine, as penned by women, because we confuse the autobiographical, and we pass judgment on the female author for her terrible self-involved and indulgent life. We do not hate Scott Fitzgerald in “The Crack-Up” or Georges Bataille in Guilty for being drunken and totally wading in their own pathos, but Jean Rhys is too much of a victim.

Once upon a time all the men of mind and genius in the world became of one belief- that is to say, of no belief. But it wearied them to think that within a few years after their death many cults and systems and prognostications would be ascribed to them which they had never...intended. So they said to one another: "Let's join together and make a great book that will last forever that will mock the credulity of man...We'll include all the most preposterous old wives' tales now current. We'll choose the keenest satirist alive to compile a deity from all the deities worshipped by mankind, a deity who will be more magnificent than any of them, yet so weakly human that he'll become a byword for laughter the world over- and we'll ascribe to him all sorts of jokes and vanities and rages, in which he'll be supposed to indulge for his own diversion, so that the people will read our book and ponder it, and there'll be no more nonsense in the world.

MAURY: What is a gentleman, anyway? ANTHONY: A man who never has pins under his coat lapel. MAURY: Nonsense! A man's social rank is determined by the amount of bread he eats in a sandwich. DICK: He's a man who prefers the first edition of a book to the last edition of a newspaper. RACHAEL: A man who never gives an impersonation of a dope-fiend. MAURY: An American who can fool an English butler into thinking he's one. MURIEL: A man who comes from a good family and went to Yale or Harvard or Princeton, and has money and dances well, and all that. MAURY: At last—the perfect definition! Cardinal Newman's is now a back number.

Then you don't think there will be any more permanent world heroes?" "Yes—in history—not in life. Carlyle would have difficulty getting material for a new chapter on 'The Hero as a Big Man.'" "Go on. I'm a good listener to-day." "People try so hard to believe in leaders now, pitifully hard. But we no sooner get a popular reformer or politician or soldier or writer or philosopher—a Roosevelt, a Tolstoi, a Wood, a Shaw, a Nietzsche, than the cross-currents of criticism wash him away. My Lord, no man can stand prominence these days. It's the surest path to obscurity. People get sick of hearing the same name over and over." "Then you blame it on the press?" "Absolutely. Look at you; you're on The New Democracy, considered the most brilliant weekly in the country, read by the men who do things and all that. What's your business? Why, to be as clever, as interesting, and as brilliantly cynical as possible about every man, doctrine, book, or policy that is assigned you to deal with. The more strong lights, the more spiritual scandal you can throw on the matter, the more money they pay you, the more the people buy the issue. You, Tom d'Invilliers, a blighted Shelley, changing, shifting, clever, unscrupulous, represent the critical consciousness of the race—Oh,

free.” On the edge of town, Fitzgerald saw a sight “that has never left my memory. It was a picture story of the death of one 82nd Airborne trooper. He had occupied a German foxhole and made it his personal Alamo. In a half circle around the hole lay the bodies of nine German soldiers. The body closest to the hole was only three feet away, a potato masher [grenade] in its fist.II The other distorted forms lay where they had fallen, testimony to the ferocity of the fight. His ammunition bandoliers were still on his shoulders, empty of M-1 clips. Cartridge cases littered the ground. His rifle stock was broken in two. He had fought alone and, like many others that night, he had died alone. “I looked at his dog tags. The name read Martin V. Hersh. I wrote the name down in a small prayer book I carried, hoping someday I would meet someone who knew him. I never did.”34

In his sermons, as in the book he published in 2005, The Myth of a Christian Nation, Boyd challenged the idea that America had been, or ever could be, a “Christian nation.” Taking his text from the Gospels, he reminded evangelicals that Christ’s kingdom was “not of this world,” and worldly kingdoms were the domain of fallen man. Evangelicals, he wrote, speak of “taking America back to God,” but the Constitution said nothing about a Christian nation, and America never remotely looked like the domain of God, certainly not in the days of slavery or of Jim Crow, and not today. A nation may have noble ideals and be committed to just principles, but of necessity it wields the “power over” of the sword, as opposed to the “power under” of the cross—which is that of Jesus’ self-sacrificial love. To identify the Kingdom of God with that of any version of the kingdom of the world is, he wrote, to engage in idolatry. The myth of a Christian nation, he continued, has led to the misconception that the American civil religion is real Christianity. Evangelicals, he wrote, spend our time striving to keep prayer in the public schools, “In God we trust” on our coins, and the Ten Commandments in public places. Might it not be, he asked, that the effort to defend prayer before civic functions reinforces the notion that prayer is a perfunctory social activity? And what if we spent all that energy serving each other with Christ-like love? We could, he wrote, feed the hungry, house the homeless, bridge the “ungodly racial gap,” and side with others whose rights are routinely trampled.