F. Scott Fitzgerald:

I used to view F. Scott Fitzgerald and Ernest Hemingway as representing the two antithetical dominant personas of the Jazz Age novelists.  Since then I’ve come to see (through some of their correspondence) that their close friendship alone is enough to placate any view that places their works in direct opposition. Still, I find the distinctive elements of their literary voices particularly intriguing.  I’ve previously tended to admire Hemingway more than Fitzgerald, for it is Hemingway’s prose that we compliment as being obviously unique.  It was not until this most recent reading of Fitzgerald’s work that I understood the praiseworthy characteristics of his writings.  For while Hemingway excelled in creating a minimalistic prose style, Fitzgerald more than many others captured the character of his particular generation.

I think in both stories, “Winter Dream” and “Babylon Revisited,” we can see that Fitzgerald is at his best when providing the reader with insights into the nature of his characters.  Often these descriptions seem to indicate something hidden and not necessarily knowable from our own experiences of observation.

“The little girl who had done this was eleven–beautifully ugly as little girls are apt to be who are destined after a few years to be inexpressibly lovely and bring no end of misery to a great number of men. The spark, however, was perceptible” (1824).

Fitzgerald’s narrator speaks with a knowledge that may be beyond the grasp of the characters in the play, but his observations are never without precedent or without significance and they often allows for an element of dramatic irony.  We as readers are allowed clear insights into the meaning of a protagonist’s actions and character beyond their obvious implications.

“He kissed her curious and lovely mouth and committed himself to the following of a grail” (1831).

 “The Irish mobility of his face was sobered by a deep wrinkle between his eyes” (1840).

But Fitzgerald’s keen observations are not limited to brief, descriptive asides; rather, they compliment his fascination with the inner workings and motivations of his tragic protagonists, Dexter Green and Charlie Wales in these particular stories.  “Winter Dream” touches on many of the themes later addressed in Fitzgerald’s most famous work The Great Gatsby.  For example, Dexter’s infatuation with Judy Jones seems functionally similar to Gatsby’s relationship with Daisy Buchanan.

Perhaps one of the most profound aspects of these insights into the tragedy of such an infatuation is the honesty with which it is addressed throughout these stories, partially because of the knowledge of the narrator, but also seen in an outsider’s examination of those high in society.  Dexter’s commitment to his winter dreams shows this well, for though he seems to be able to acknowledge the true nature of Judy Jones he is unable to stop himself from desiring her.  In fact, it motivates him, and he views it as proof of his acceptance into the desirable class of society.

“It excited him that many men had loved her. It increased her value in his eyes…He was disappointed at first that she had not put on something more elaborate…It even offended him that she should know the maid’s name” (1830).

Dexter Green is not a heroic figure trying to overcome great adversity; he is at best trying to fit in among the rich and powerful.  The quest for Judy is the quest to become a part of this society, but it is also described as being the “following of a grail”.  And in these synonymous quests it seems his motivation is nothing other than pride.

“Then a perfect wave of emotion washed over him, carrying off with it a sediment of wisdom, of convention, of doubt, of honor. This was his girl who was speaking, his own, his beautiful, his pride” (1836).

With the ability to describe with a clarity that is praiseworthy, Fitzgerald was able to capture something unique about the character of his era, the Jazz Age, and in doing so he touches upon themes that are universal.  Though none of us have ever lived in the same world as Dexter or Charlie (or Fitzgerald for that matter) all of us can recognize that aspects of these characters and their circumstances ring true even today. 

A question for discussion: do you find anything relatable in Fitzgerald’s style of characterization or am I unique in identifying with it?

Advice: If you enjoy the world of the Jazz Age and have not seen Woody Allen’s most recent film Midnight in Paris, do yourself a favor and get a copy when it is released on DVD this December.

P.S. On a humorous note, I think this comic strip from the website Hark! A Vagrant is an accurate representation. Though be forewarned the webcomic does employ some off-color language and childish humor from time to time.  If that doesn't bother you, you are in for a real treat.