THE COMPLETE WORKS OF F. SCOTT FITZGERALD. ФрÑнÑÐ¸Ñ Ð¡ÐºÐ¾Ñ‚Ñ‚ Фицджеральд
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face warmed and for the first time that evening she smiled.
“I love it,” she said frankly. It was impossible to doubt her. Her gray eyes roved here and there, drowsing, idle or alert, on each group, passing to the next with unconcealed enjoyment, and to Anthony were made plain the different values of her profile, the wonderfully alive expressions of her mouth, and the authentic distinction of face and form and manner that made her like a single flower amidst a collection of cheap bric-à-brac. At her happiness, a gorgeous sentiment welled into his eyes, choked him up, set his nerves a-tingle, and filled his throat with husky and vibrant emotion. There was a hush upon the room. The careless violins and saxophones, the shrill rasping complaint of a child near by, the voice of the violet-hatted girl at the next table, all moved slowly out, receded, and fell away like shadowy reflections on the shining floor — and they two, it seemed to him, were alone and infinitely remote, quiet. Surely the freshness of her cheeks was a gossamer projection from a land of delicate and undiscovered shades; her hand gleaming on the stained tablecloth was a shell from some far and wildly virginal sea….
Then the illusion snapped like a nest of threads; the room grouped itself around him, voices, faces, movement; the garish shimmer of the lights overhead became real, became portentous; breath began, the slow respiration that she and he took in time with this docile hundred, the rise and fall of bosoms, the eternal meaningless play and interplay and tossing and reiterating of word and phrase — all these wrenched his senses open to the suffocating pressure of life — and then her voice came at him, cool as the suspended dream he had left behind.
“I belong here,” she murmured, “I’m like these people.”
For an instant this seemed a sardonic and unnecessary paradox hurled at him across the impassable distances she created about herself. Her entrancement had increased — her eyes rested upon a Semitic violinist who swayed his shoulders to the rhythm of the year’s mellowest fox-trot:
“Something — goes
Ring-a-ting-a-ling-a-ling
Right in-your ear—”
Again she spoke, from the centre of this pervasive illusion of her own.. It amazed him. It was like blasphemy from the mouth of a child.
“I’m like they are — like Japanese lanterns and crape paper, and the music of that orchestra.”
“You’re a young idiot!” he insisted wildly. She shook her blond head.
“No, I’m not. I am like them…. You ought to see…. You don’t know me.” She hesitated and her eyes came back to him, rested abruptly on his, as though surprised at the last to see him there. “I’ve got a streak of what you’d call cheapness. I don’t know where I get it but it’s — oh, things like this and bright colors and gaudy vulgarity. I seem to belong here. These people could appreciate me and take me for granted, and these men would fall in love with me and admire me, whereas the clever men I meet would just analyze me and tell me I’m this because of this or that because of that.”
— Anthony for the moment wanted fiercely to paint her, to set her down now, as she was, as, as with each relentless second she could never be again.
“What were you thinking?” she asked.
“Just that I’m not a realist,” he said, and then: “No, only the romanticist preserves the things worth preserving.”
Out of the deep sophistication of Anthony an understanding formed, nothing atavistic or obscure, indeed scarcely physical at all, an understanding remembered from the romancings of many generations of minds that as she talked and caught his eyes and turned her lovely head, she moved him as he had never been moved before. The sheath that held her soul had assumed significance — that was all. She was a sun, radiant, growing, gathering light and storing it — then after an eternity pouring it forth in a glance, the fragment of a sentence, to that part of him that cherished all beauty and all illusion.
Chapter III
The Connoisseur of Kisses
From his undergraduate days as editor of The Harvard Crimson Richard Caramel had desired to write. But as a senior he had picked up the glorified illusion that certain men were set aside for “service” and, going into the world, were to accomplish a vague yearnful something which would react either in eternal reward or, at the least, in the personal satisfaction of having striven for the greatest good of the greatest number.
This spirit has long rocked the colleges in America. It begins, as a rule, during the immaturities and facile impressions of freshman year — sometimes back in preparatory school. Prosperous apostles known for their emotional acting go the rounds of the universities and, by frightening the amiable sheep and dulling the quickening of interest and intellectual curiosity which is the purpose of all education, distil a mysterious conviction of sin, harking back to childhood crimes and to the ever-present menace of “women.” To these lectures go the wicked youths to cheer and joke and the timid to swallow the tasty pills, which would be harmless if administered to farmers’ wives and pious drug-clerks but are rather dangerous medicine for these “future leaders of men.”
This octopus was strong enough to wind a sinuous tentacle about Richard Caramel. The year after his graduation it called him into the slums of New York to muck about with bewildered Italians as secretary to an “Alien Young Men’s Rescue Association.” He labored at it over a year before the monotony began to weary him. The aliens kept coming inexhaustibly — Italians, Poles, Scandinavians, Czechs, Armenians — with the same wrongs, the same exceptionally ugly faces and very much the same smells, though he fancied that these grew more profuse and diverse as the months passed. His eventual conclusions about the expediency of service were vague, but concerning his own relation to it they were abrupt and decisive. Any amiable young man, his head ringing with the latest crusade, could accomplish as much as he could with the débris of Europe — and it was time for him to write.
He had been living in a downtown Y.M.C.A., but when he quit the task of making sow-ear purses out of sows’ ears, he moved up-town and went to work immediately as a reporter for The Sun. He kept at this for a year, doing desultory writing on the side, with little success, and then one day an infelicitous incident peremptorily closed his newspaper career. On a February afternoon he was assigned to report a parade of Squadron A. Snow threatening, he went to sleep instead before a hot fire, and when he woke up did a smooth column about the muffled beats of the horses’ hoofs in the snow… This he handed in. Next morning a marked copy of the paper was sent down to the City Editor with a scrawled note: “Fire the man who wrote this.” It seemed that Squadron A had also seen the snow threatening — had postponed the parade until another day.
A week later he had begun “The Demon Lover.”…
In January, the Monday of the months, Richard Caramel’s nose was blue constantly, a sardonic blue, vaguely suggestive of the flames licking around a sinner. His book was nearly ready, and as it grew in completeness it seemed to grow also in its demands, sapping him, overpowering him, until he walked haggard and conquered in its shadow. Not only to Anthony and Maury did he pour out his hopes and boasts and indecisions, but to any one who could be prevailed upon to listen. He called on polite but bewildered publishers, he discussed it with his casual vis-à-vis at the Harvard Club; it was even claimed by Anthony that he had been discovered, one Sunday night, debating the transposition of Chapter Two with a literary ticket-collector in the chill and dismal recesses of a Harlem subway station. And latest among his confidantes was Mrs. Gilbert, who sat with him by the hour and alternated between Bilphism and literature in an intense cross-fire.
“Shakespeare was a Bilphist,” she assured him through a fixed smile..
“Oh, yes! He was a Bilphist. It’s been proved.”
At this Dick would look a bit blank.
“If you’ve read ‘Hamlet’ you can’t help but see.”