When May 1st came, the worst riot was in Cleveland, but there were demonstrations in other cities as well, New York included. F. Scott Fitzgerald was there to witness the mayhem. The Armistice had ended his military service without him ever being sent to fight and he was now struggling to make a living in the advertising business. Unlike his Princeton classmates, he was not among the sons of wealth who attended college in those days and he had to earn a living. Throughout his life, he had moved among that privileged class but he was not a member. His father had been a failed businessman. His mother had some small inherited wealth that kept him in private schools and in all the right social circles and had finally gotten him to Princeton, but he now had to work for a living. Perhaps because of that experience and his upbringing among that social class, he wasn’t particularly suited to working for a living. It was that lack of prospects that had prompted his fiancé to break off their engagement until he could prove he had the means to support her. He wasn’t making it in advertising and things didn’t look good for him.

In the fall and winter of 1919, F. Scott Fitzgerald was anxiously awaiting the publication of his first novel, This Side of Paradise.  The publishing contract with Scribner’s had come in just the nick of time for Fitzgerald.  Earlier in that year he had tried his hand in the advertising business and met with failure.  Unable to prove that he could support his fiancé, Zelda Sayre of Montgomery Alabama whom he had met when he was a soldier, the engagement had been broken off.  With the offering of a publishing contract by Scribner’s that fall, Fitzgerald could now claim to be a professional writer and the engagement was back on.  No matter how badly things turned out for Scott and Zelda later on, at that moment in time, he had a book coming out and had won the heart of the love of his life. Things were looking up. It had to be the most exciting and optimistic time of his life.

With Fitzgerald, however, happiness and satisfaction never came easy. He was always his own worst critic not only of his writing but of his own self-worth, and he always felt as though he was living on the edge of failure and tragedy was always looking over his shoulder.  To both his credit and to his later downfall, he embraced his self-doubt and forged it into art.  In one of his first efforts as a fulltime writer,  he wrote the most ambitious work of his early career, the novella May Day, inspired by his fears of failure and by the riotous events that he witnessed earlier in that year in New York City.

In retrospect, This Side of Paradise, isn’t very good, even for a first novel.  Today, it serves as a testament to Max Perkins’ judgment and intuition in identifying literary talent and to Scribner’s willingness to invest and nurture a young writer.  This Side of Paradise was successful and made Fitzgerald famous, but today it serves mainly as a biographical curiosity;  the investment that Scribner’s made in the young Fitzgerald wouldn’t pay off for the publisher until long after both Fitzgerald and Perkins had died.

May Day serves as a sort of missing link between the young embryonic talent first noticed by Perkins and the accomplished novelist he would become.  We can see him experimenting with naturalism as well as notice prototypes for the characters and themes of his later work: the poor outsider among the wealthy and privileged, the beautiful but shallow heroine, the ruthless and selfish rich.  The main character’s financial failure parallels Fitzgerald’s failure in advertising as well as the heroin’s rejection  parallels Zelda’s initial rejection. The novella also contains the some of th most pointed social and political statements that Fitzgerald ever committed to paper. His writing was very much “in the moment” and influenced by his personal circumstances, but it foreshadowed the riotous decade that would follow.  This novella and his masterpiece “Babylon Revisited” serve as bookends to the 1920′s.

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© 2012, Fred Bubbers. All rights reserved.

On an early summer afternoon in the tiny village of  North Dormer, Charity Royall sees from the distance a handsome young man, his manner and his clothing indicating that he is a wealthy city person.  Later, he stops in at the library that Charity unenthusiastically manages, in search of books about the local architecture and introduces himself as Lucius Harney.  Although his reason for visiting the library is entirely proper, and he has no motive for seducing or even flirty with the librarian, he is momentarily and involuntarily flustered by her beauty.  There is no flirtation at all in this meeting, but Charity notices Harney’s brief reaction and in the hours and days after that she repeatedly reflects on that moment even as her own obsession with Harney grows.

As the story unfolds we gradually learn more about Charity’s background.  She is the ward of Lawyer Royall, a prominent member of the community of North Dormer.  This is a somewhat dubious distinction considering how humble the village is; the only church in town lacks a fulltime minister and has services only every other Sunday. Its backwardness is revealed somewhat comically in Charity’s thoughts.

Charity was born into abject poverty in a place referred to as “The Mountain.”  Her destitute mother gave her up to Royall after her father had been convicted of manslaughter.  All that Charity can remember of her earlier life are fleeting images and she knows neither of her parents names.

As a work of naturalism, the behavior of all the characters in this story is driven by innate desires of which they are not entirely aware that conflict with the constraints and expectations of society.  Free will, if it exists at all, is exercised by negotiating in the path between conforming to the requirements of civilization (the nearby city of Nettleton) and giving in to primitive passion (“The Mountain”).  North Dormer, like Charity, exists somewhere between these two.  We see these internal conflicts play out not only in Charity but also in the two other main characters: Royall and Harney.

Wharton is one of the great literary stylists of naturalism (unlike, say, Theodore Dreiser), and of American Literature in general.  In Summer, her rendering of the landscape and season evokes the moods and desires of the characters.  The effect is poetic and, at times, intoxicating:

There had never been such a June in Eagle County.  Usually it was a month of moods, with abrupt alternations of belated frost and mid-summer heat; this year, day followed day in a sequence of temperate beauty.  Every morning a breeze blew steadily from the hills.  Toward noon it built up great canopies of white cloud the threw a cool shadow over fields and woods; then before sunset the clouds dissolved again, and the western light rained its unobstructed brightness on the valley.

On such an afternoon Charity Royall lay on a ridge above a sunlit hollow, her face pressed to the earth and the warm currents of the grass running through her.  Directly in her line of vision a blackberry branch laid its frail white flowers and blue-green leaves against the sky.  Just beyond, a tuft of sweet-fern uncurled between the beaded shoots of grass, and a small yellow butterfly vibrated over them like a fleck of sunshine.  This was all she saw, but she felt, above her and about her, the strong growth of the beeches clothing the ridge, the rounding of pale green cones on countless spruce-branches, the push of myriads of sweet-fern fronds in the cracks of the stony slope below the wood, and the crowding shoots of meadowsweet and yellow flags in the pasture beyond.  All this bubbling of sap and slipping of sheaths and bursting of calyxes was carried to her on mingled currents of fragrance.  Every leaf and bud and blade seemed to contribute its exhalations to the pervading sweetness in which the pungency of pine-sap prevailed over the spice of thyme and the subtle perfume of fern, and all were merged in a moist earth-smell that was like the breath of some huge sun-warmed animal.  (Chapter V)

Wharton was born into incredible wealth and most of her work focused on the rites and rituals of New York Society.  She moved comfortably and at ease in those circles, yet her work reveals a discerning and critical eye for passions and desires that beneath polite and tasteful manners.  The two works that are set in humble rural settings, Summer and Ethan Frome, take place in western Massachusetts.  She lived there, in Lennox, for some years in a magnificent house that she had built, but by the time she wrote Summer, she had been living in France for some years .  The landscape and its less affluent people had made an impression on her.  There are elements of harshness in her portrayals of them, but never is there any condescension in tone and it is clear that she had great affection for the land and its inhabitants.

For more articles in this series, see “The Art of the Novella.”

Books Referenced:

See larger image Summer (Paperback) By (author) Edith Wharton List Price: $5.99 USD New From: $4.19 In Stock Used from: $5.98 In Stock

See larger image Ethan Frome (Penguin Classics) (Paperback) By (author) Edith Wharton List Price: $8.00 USD New From: $3.00 In Stock Used from: $0.01 In Stock Release date October 25, 2005.

See larger image The Age of Innocence (Paperback) By (author) Edith Wharton List Price: $8.98 USD New From: $7.00 In Stock Used from: $1.49 In Stock

See larger image The House of Mirth (Signet Classics) (Mass Market Paperback) By (author) Edith Wharton List Price: $4.95 USD New From: $2.00 In Stock Used from: $0.01 In Stock Release date February 1, 2000.

© 2011, Fred Bubbers. All rights reserved.

Thus begins Ivan Turgenev’s 1860 novella, First Love. At age sixteen while living in the country, Vladimir meets twenty-one-year-old Zinaida Alexandrovna Zasyekina, the daughter of a titled but very poor family living on the adjoining property.  Zinaida is a beautiful and spirited young women and Vladimir falls hopelessly in love with her.  Zinaida toys with him mercilessly, enticing him with hints of a deep and romantic affection and, alternatively, pushing him away and treating him with condescending, sisterly affection. (Perhaps the 19th century equivalent of “Let’s just be friends.”)  At one point, she even asks Vladimir to look after her twelve-year-old brother, emphasizing the their age difference and that Vladimir is still just a boy.

Adding to Vladimir’s frustration are the numerous suitors who come calling on Zinaida every evening.  They are all older than Vladimir and superior to him in either wealth or social class.  She plays them all off one another, but occasionally indicates that she favors Vladimir.  On these occasions the young man’s heart swells and there is no joy greater than the joy felt by a young man in love for the first time.  There is also no sadness greater than the sadness brought on by unrequited love.

Vladimir is a sensitive and observant young man and he is able to see through Zinaida’s extreme coquettishness and notices a gradual change in her manner.  Beneath her façade, he can see that she truly is in love, but not with him.  Nor is it one of the other suitors, although at first he suspects it is one of them.  The penultimate heartbreak for Vladimir is that Zinaida’s secret love turns out to be Vladimir’s own father.  In the final chapters, this heartbreak story, as all good heartbreak, turns tragic.

Turgenev is one of the early practitioners of literary realism.  First Love is told in first person and adheres strictly to the limitations of omniscience that that point of view requires.  Turgenev uses that to his advantage in several specific places, such as when Vladimir witnesses an altercation between his father and Zinaida.  He is unable to hear what they are discussing, but his visual observation provides enough for for us to understand the depth nature of their relationship.

The true artistry of this novella is revealed at the conclusion when the reader reconsiders the entire story once again, this time taking a far more sympathetic view of both Zinaida (and really, the first time through she’s very hard to like) and Vladimir’s father.  What is finally revealed is that this story is not only a tale about a youthful unrequited love but also about Zinaida’s place in society, society’s expectations of all of us, and ultimately about the nature of love itself.

Turgenev’s influence is even more apparent in the development of psychological fiction.   He has a gentle touch that captures complex and nuanced emotional states in his characters and can be seen as a precursor to Henry James and Joseph Conrad.  This same approach to fiction can still be seen in such contemporary works as Ian McEwan’s On Chesil Beach.

Turgenev lived during changing times in Europe.  Later events would sweep away the aristocracy in his native Russia, but during his lifetime the social order, and the aristocracy that it supported,  was already crumbling.  The characters in First Love reflect this along with the very nature of the story that the older Vladimir tells to his shallow and passionless companions.

For more articles in this series, see “The Art of the Novella.”

See larger image First Love (The Art of the Novella) (Paperback) By (author) Ivan Turgenev List Price: $10.00 USD New From: $5.58 In Stock Used from: $0.06 In Stock Release date September 1, 2004.

See larger image On Chesil Beach (Paperback) By (author) Ian McEwan List Price: $14.00 USD New From: $2.25 In Stock Used from: $0.01 In Stock Release date June 10, 2008.

© 2010 – 2011, Fred Bubbers. All rights reserved.

Nathan’s autobiographical short stories have upset his family, particularly his father, who believes they show American-Jewish family life in a bad light and confirm the worst stereotypes of Jews.  It is 1956 and Nathan is writing in the shadow of the Holocaust.  His family is offended by his telling of their internal feuds, portraying them as “conniving Jews,” confirming the worst stereotypes held by Gentiles.  They enlist a respected member of their community, a judge no less, for his opinion.  Nathan receives a letter from the judge asking him, among other things,  “If you had been living in Nazi Germany in the thirties, would you have written such a story?”  Strong stuff.  Nathan, however, is devoted more than anything to truthfulness and art and refuses to take responsibility for the feelings of his family and to take on the weight of history which they are trying to impose upon him.

Estranged from his father, he seeks out a substitute in one Emanual Lonoff, a successful, middle-aged Jewish-American writer.  Citing his published stories and his magazine profile, he writes to Lonoff,  inviting himself because he happens to be in the neighborhood staying at a writer’s colony in upstate New York.  His girlfriend has left him, his family questioning his morals, he seeks the approval from a spiritual father, a fellow writer.  He gets far more than he bargained for.

Lonoff lives a quiet life in The Berkshires with his wife of thirty-five years, Hope.  Also visiting on the same weekend as Nathan is is the beautiful but mysterious Amy Bellette, Lonoff’s former student.  There is tension in the house.  While never explicitly stated, it is more than hinted at that Bellette is a former lover of Lonoff’s.  There are no doubts about in long suffering Hope’s mind.

Lonoff receives Nathan warmly, but still holds him at arm’s length.  The wisdom and affirmation that Nathan is seeking is meted out in tiny doses.  Like the writing that Nathan admires, Lonoff’s words are spare and while as an artist he reveals truths fearlessly, in life he is guarded.  He describes his approach to writing:

I turn sentences around. That’s my life. I write a sentence and then I turn it around. Then I look at it and I turn it around again. Then I have lunch. Then I come back in and write another sentence. Then I have tea and turn the new sentence around. Then I read the two sentences over and turn them both around. Then I lie down on my sofa and think. Then I get up and throw them out and start from the beginning.

Given Nathan’s romantic notions at the time about the noble cause of literature and art, that’s a little disappointing.  And yet, that’s pretty much what writing is.  For Hope, however, this describes her life with Lonoff as one of enforced solitude, and she’s had about enough of it.  That, along with the presence of Amy, brings about a crisis in the marriage and a confrontation that Nathan gets to witness.

Nathan, in the meantime, has fallen in love with Miss Ballette, or at least who he imagines her to be, none other than Anne Frank.  Her age is right, her look is right, and her background is unknown.  If only she would marry him, he could take revenge on his critics who attack his anti-Semitism.  Sadly, she is only Amy, not Anne, and well he tells her she looks like Anne Frank, she reacts with indifference.

The life Lonoff lives, devoted to his art, just as Nathan desires for himself, is not without its costs. The costs are paid not just by the writer, but also by the people in his life.  In the end, at the end of the tumultuous weekend, Lonoff’s knowing evaluation of Nathan is both praising of his talent but also a warning about the life he is choosing for himself:

“I’ll be curious to see how we all come out someday. It could be an interesting story. You’re not so nice and polite in your fiction. . . . You’re a different person.”

It’s impossible to read The Ghost Writer without thinking of Roth himself.  The setting of the story is in the same timeframe as when Roth’s career was beginning, at it was Roth’s unflinching portrayal, the the good and the not so good, of Jewish-American life that brought him both fame and controversy, first with Goodbye, Columbus, and then Portnoy’s Complaint.  The Ghost Writer was written on the other side of the fame and controversy and is imbued with the wisdom of a life having been lived.  The tone is genuinely wistful and, as a truth teller, Roth is willing to own up to the flaws, vanity, and shallowness of his twenty-three year-old self.  Among the larger themes of all of Roth’s work is the two-edged sword of heritage.   We are a nation of immigrants and while we attempt to purge ourselves from whatever identity that defines our ancestors, there are also times when the heritage that haunts is also the heritage that comforts us.  In The Ghost Writer, Roth shows us the birth of that dichotomy.

The Ghost Writer was selected by the Pulitzer committee for fiction for the prize in 1980, but the Pulitzer committee overrode the decision and instead gave the award to Norman Mailer’s The Executioner’s Song.  It’s hard to imagine two books more different in style, subject and sheer heft.  Thirty years later, it’s hard to say anything about the comparative merits of the two books other than, “Wow, what year that was.”

For more articles in this series, see “The Art of the Novella.”

See larger image The Ghost Writer (Paperback) By (author) Philip Roth List Price: $14.00 USD New From: $5.00 In Stock Used from: $1.77 In Stock Release date August 1, 1995.

© 2010 – 2011, Fred Bubbers. All rights reserved.

Tamkin’s council and Wilhelm’s inability to shed his burdens only serve to heighten Wilhelm’s sense of failure.  Wherever he seeks sympathy, whether it be his estranged wife who continues to make financial demands on him while refusing to divorce him or his father, a comfortably retired doctor, finds nothing but reminders of his failures.

Born Wilhelm Adler, he changes his name to Tommy Wilhelm to further his acting career.  His career never takes off and so he fails in his attempt to actually become Tommy Wilhelm, a failure he is constantly reminded of by his father who insists on addressing him as “Wilky,” his childhood name.

Seize the Day is a distinctly American story.  Whereas British fiction from Daniel Defoe on up through today’s Ian McEwan is preoccupied by social and economic class distinctions, American society prides itself on being free from class.  No matter what station we are born into, we believe that through hard work, perseverance, and strength of character we can succeed.  If we do not succeed, it is obviously due to some flaw in our character.  American fiction has always explored the chasm that exists between that Great American Ideal (and mythology) and the stark reality that the Universe has no concept of fairness.  American literary characters, unlike their British counterparts, are therefore imbued with a greater sense of anomie. While British heroes and heroines may struggle to overcome the rigid class distinctions in their society, and usually fail, there is at least the idea that there is a sense of order in the Universe, no matter how harsh it may be. American literary figures, from Dreiser’s Clyde Griffiths to Fitzgerald’s James Gatz to Salinger’s Holden Caulfield to Miller’s Willy Loman, fight not against society but against nothingness.

Years after writing Seize the Day, Bellow said in interviews that never liked Tommy Wilhelm very much.  Indeed, Wilhelm is not particularly likable and the reader is likely to feel as much sympathy for him as the other characters in the novella.  “Stop whining, be a man, get a job!” we want to say to him.  And yet, the story is compelling and unconsciously reaches those hidden parts of our psyche that fear the stark nothingness, and leads us to the novella’s surprisingly cathartic conclusion.

For more in this series, see “The Art of the Novella.”

Referenced books:

See larger image Seize the Day (Penguin Classics) (Paperback) By (author) Saul Bellow List Price: $14.00 USD New From: $7.38 In Stock Used from: $2.95 In Stock Release date May 27, 2003.

See larger image An American Tragedy (Signet Classics) (Mass Market Paperback) By (author) Theodore Dreiser List Price: $9.95 USD New From: $4.72 In Stock Used from: $5.50 In Stock Release date August 3, 2010.

See larger image The Great Gatsby (Paperback) By (author) F. Scott Fitzgerald List Price: $15.00 USD New From: $6.05 In Stock Used from: $2.73 In Stock Release date September 30, 2004.

See larger image The Catcher in the Rye (Paperback) By (author) J. D. Salinger List Price: $13.99 USD New From: $4.97 In Stock Used from: $2.73 In Stock

See larger image Death of a Salesman (Viking Critical Library) (Paperback) By (author) Arthur Miller List Price: $18.00 USD New From: $8.33 In Stock Used from: $1.33 In Stock Release date January 1, 1996.

© 2010 – 2011, Fred Bubbers. All rights reserved.