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THE CAMBRIDGE EDITION OF THE WORKS OF F. SCOTT FITZGERALD

© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-40238-5 - Tales of the Jazz Age: F. Scott Fitzgerald Edited by James L. W. West III Frontmatter More information

Front panel of the John Held, Jr., dust jacket for Tales of the Jazz Age.

TALES OF THE JAZZ AGE *** F. SCOTT FITZGERALD

Edited by JAMESL.W.WESTIII

University Printing House, Cambridge cb2 8bs, United Kingdom

Published in the United States of America by Cambridge University Press, New York

Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence.

www.cambridge.org Information on this title: www.cambridge.org/9780521402385 © 2002 Eleanor Lanahan, Th omas P. Roche, Jr., and Chris Byrne, Trustees under agreement dated 3 July 1975, created by Frances Scott Fitzgerald Smith. Introduction and notes, © 2002 James L. W. West III. Th is edition, © 2002 Cambridge University Press. Th is publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Paperback edition 2012 A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Fitzgerald, F. Scott (Francis Scott), 1896–1940. Tales of the Jazz Age / F. Scott Fitzgerald; edited by James L. W. West 111. p. cm. – (Th e Cambridge edition of the works of F. Scott Fitzgerald) Includes bibliographical references and index. isbn 0 521 40238 7 I. United States – Social life and customs – 20th century – Fiction. I. West, James L. W. II. Title. ps3511.19 t35 2001 813΄.52 – dc21 2oo1043090 isbn 978-0-521-40238-5 Hardback isbn 978-0-521-17044-4 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

CONTENTS

Acknowledgments vii Illustrations ix Introduction xi 1. Backgroundxi 2. Submission andrevision xiv 3. Disagreements xv 4. Design xvi 5. Final choices xviii 6. Editorial principles xix

TALES OF THE JAZZ AGE A Table of Contents 5 The Jelly-Bean 13 The Camel's Back 33 May Day 61 Porcelain andPink 115 The Diamondas Big as the Ritz 127 The Curious Case of Benjamin Button 169 Tarquin of Cheapside 196 ``O Russet Witch!'' 204 The Lees of Happiness 239 Mr. Icky 261 Jemina, the Mountain Girl 269

vi Contents

Additional Stories, May 1923±March 1925 Dice, Brassknuckles andGuitar 277 DiamondDick 298 The ThirdCasket 318 The Unspeakable Egg 332 John Jackson's Arcady 351 The Pusher-in-the-Face 374 Love in the Night 389

Recordof variants 407 Explanatory notes 499 Illustrations 529 Appendix 1 Dummy table of contents 533 Appendix 2 Composition, publication, and earnings 538

ACKNOWLEDGMENTS

I am grateful to Eleanor Lanahan, Thomas P. Roche, Jr., andChris Byrne, Trustees of the F. Scott FitzgeraldEstate, for their support andtheir useful suggestions. I thank WendySchmalz of Harold Ober Associates, Inc., for helping to smooth the way andarranging for permissions. Illustrations for this volume are reproduced from the F. Scott FitzgeraldPapers andthe Charles Scribner's Sons Archives, Manu- script Division, Department of Rare Books andSpecial Collections, Princeton University Library. The early version of the table of contents for Tales of the Jazz Age, publishedin Appendix 1, is preservedin a salesmen's dummy in the Matthew J. andArlyn Bruccoli Collection of F. Scott Fitzgerald, Thomas Cooper Library, University of South Carolina. For assistance with the FitzgeraldPapers at Princeton, I am grateful to Don C. Skemer andAnnaLee Pauls. Patrick Scott and Paul Schultz at the Cooper Library, University of South Carolina, were most helpful with the dummy copy of Tales. The Literature Department, Free Library of Philadelphia, assisted with serial texts. My friendBryant Mangum of Virginia Commonwealth University was generous with his knowledge and his photocopies of hard-to-®nditems. Wes Davis andEleanor C. Baker helpedwith textual andarchival chores. Diane Kaplan, Manuscripts and Archives, Yale University Library, assistedwith a note on ``The Diamondas Big as the Ritz''; NedaSalem of the Mark Twain Project at Berkeley identi®ed an important Twain quotation. For ongoing support of the FitzgeraldEdition, I thank Susan Welch, Dean of the College of the Liberal Arts; Don Bialostosky, former Headof the Department of English; andRobert R. Edwards, former Director of the Institute for the Arts and Human- istic Studies at Penn State. Sue Reighard, Carol Ann Mindrup, and Randy Ploog of the Institute have given me daily assistance in my

vii

viii Acknowledgments

labors. I thank LaVerne Kennevan Maginnis andRobert R. Bleil for attentive work on textual collations andproofreading; Christopher Weinmann has been of essential aidwith annotations. j.l.w.w. iii

ILLUSTRATIONS

BBeginning on page 529)

Frontispiece. Front panel of the John Held, Jr., dust jacket for Tales of the Jazz Age.

1. Page 2 from Fitzgerald's 6 February 1922 letter to Maxwell Perkins. 2. Detail from the tearsheets of ``Dice, Brassknuckles andGuitar.''

INTRODUCTION

1. background

F. Scott Fitzgerald's Tales of the Jazz Age B1922), though an uneven collection, contains two masterpieces ± ``May Day'' and ``The Diamondas Big as the Ritz.'' Fitzgeraldproducedthebook during a busy period of his career, a time at which he had few uncollectedshort stories on handfrom which to assemble a volume. He hadspent much of the precedingtwo years writing his secondnovel, The Beautiful and Damned B1922), rather than producing short ®ction for the magazine market. Fitzgerald's choices were therefore limited. His solution was to pull together the best of his recent short ®ction, add two items from his days at Princeton, andtie the whole together with a freshly written table of contents featuring droll comments on the stories. In the early months of 1922, Fitzgeraldandhis family were living in a rentedhouse at 626 GoodrichAvenue in his home town of St. Paul, Minnesota. In the previous October his wife, Zelda, hadgiven birth to a daughter, whom they calledScottie. Instal- ments of the serial text of The Beautiful and Damned were appearing in Metropolitan Magazine, andFitzgeraldwas tinkering with the ending of the novel for the book version. He was also thinking about a suitable title for the collection of short stories that he wantedto publish in the fall. In a letter written towardthe endof January, he suggested ``Sideshow'' to Maxwell Perkins, his editor at Charles Scribner's Sons, but Perkins' reaction was lukewarm. `Ìt does not seem to me to have much life as a title,'' Perkins said. `Ìt suggests something of secondary importance.'' Fitzgerald's next idea, sent to Perkins in a 6 February letter, was `Ìn One Reel'' ± a phrase meant to suggest the one-reel ``shorts'' that were popular in movie theaters. Perkins likedthat title better: ``Ìn One Reel' puts these

xii Introduction

stories just where they belong with relation to the novels,'' he repliedfour dayslater. 1 Fitzgeralddecidedtoarrange his stories in groupings. In the same 6 February letter, he sent Perkins a tentative list of contents. Under the heading ``Fantasies'' he placed ``The Diamond in the Sky'' Bwhich became ``The Diamondas Big as the Ritz''), ``The Russet Witch'' Bwhich became ``Ò Russet Witch!'''), ``Tarquin of Cheapside,'' and ``The Curious Case of Benjamin Button.'' In a group called``My Last Flappers'' he included ``May Day,'' ``The Camel's Back,'' and ``The Jelly-Bean.'' Under ``Comedies'' he placedtwo one-act dramas, ``Mr. Icky'' and``Porcelain andPink,'' anda parodyentitled``Jemina.'' In a ®nal miscellaneous category called`ÀndSo Forth'' he included``The Crusts of Love'' Bpublished as ``The Lees of Happiness'') and``Two for a Cent.'' Fitzgeraldknew that such a collection wouldshow his versatility. `Ì don't suppose such an assorted bill-of-fare as these eleven stories, novellettes, plays + 1 burlesque has ever been servedup in one book before in the history of publishing,'' he later wrote to Perkins. But Fitzgeraldmust also have recognizedthat the volume could easily be seen as a hodgepodge, even with ``May Day'' and ``The Diamondas Big as the Ritz'' to carry it. Fitzgeraldtherefore set out to tie the collection together, creating an appearance of unity with an innovative table of contents that woulditself be a new piece of writing. By early April he had decided against `Ìn One Reel'' and had changedhis title to Tales of the Jazz Age.Hehadalso written a ®rst version of the table of contents. For each item in the collection he composeda short paragraph, telling the circumstances under which he hadwritten the story or play andgiving his estimate of it. Most of the comments are offhanded and irreverent, emphasizing the facility with which Fitzgeraldwas able to write. This was a pose, of course ± Fitzgeraldlaboredhardon his writing ± but it

1 These letters, andthose that follow between FitzgeraldandPerkins, are published in Dear Scott/Dear Max: The Fitzgerald±Perkins Correspondence, ed. John Kuehl andJackson R. Bryer BNew York: Scribners, 1971). The originals of Fitzgerald's letters andcarbons of Perkins' are in the Scribners archive at Princeton University Library.

Introduction xiii

was a pose that he often assumedearly in his career. He sent this ®rst version of the contents to Perkins, who hadit set in type; a proof was mailedto Fitzgerald,who revisedandreturnedit. No proofs of the ®rst table of contents survive in the Scribners archive at Princeton University Library, but a revisedtext of that initial table is extant in a dummy copy of Tales usedby Scribners salesmen to take advance orders from booksellers. This dummy, part of the Fitzgeraldcollection at the Thomas Cooper Library, University of South Carolina, contains a typedsheet of promo- tional copy, several pages of trial front matter, the table of contents as it then stood, and a partial text of ``The Jelly-Bean.'' The rest of the volume is ®lledout with blank pages. The table of contents from the dummy is reproduced in Ap- pendix 1. It differs considerably from the tables in the 6 February letter andin the publishedbook. Under``My Last Flapper s'' one ®nds ``The Jelly-Bean,'' ``The Camel's Back,'' and``May Day.'' The stories in the ``Fantasies'' section are ``The Diamondas Big as the Ritz,'' ``The Russet Witch,'' ``The Curious Case of Benjamin Button,'' and``Tarquin of Cheapside.'' The category of ``Comedies'' is gone, andthe section entitled``AndSo Forth'' now includes``The Crusts of Love,'' ``Two for a Cent,'' and``Jemima'' Bpresumably a typo for ``Jemina''). The one-act play ``Porcelain andPink,'' which eventually did appear in Tales, is not listed; the order of the titles differs from the order in the published book; and ``Two for a Cent'' occupies the spot that wouldeventually go to ``Mr. Icky.'' The descriptions of the stories differ between the dummy and the publishedbook as well. Fitzgerald's letters to Perkins show that he revisedthese descriptions in subsequent proofs, though the casual, debonair tone remains. For his part, Perkins liked the descriptions but was dissatis®ed with the typographical look of the dummy contents list. He therefore hadthe entire table reset in italics for the publishedversion.

xiv Introduction

2. submission and revision

Fitzgeraldwas slow in getting the actual stories to Perkins. There were heavy demands on his professional energies that spring: he was revising The Vegetable, then called``Gabriel's Trombone,'' a satirical play which eventually wouldopen Bandquickly close) in Atlantic City in November 1923. He hadrecently ®nishedwriting ``The Cruise of the Rolling Junk'' ± a long, humorous account of a motoring trip that he andZeldahadtaken to the South ± but the manuscript did not sell quickly to a magazine, and Fitzgerald had to spendsome time cutting andreworking it. He was writing a movie treatment for DavidO. Selznick, andhe andZeldawere considering an offer to play the leads in a ®lm version of This Side of Paradise B1920), his ®rst novel. These projects andpossibilities, together with the new demands of fatherhood, kept Fitzgerald from providing copy for Perkins. Perkins prodded Fitzgerald, asking that the texts of the stories be delivered by 15 May, then by 1 June, but Fitzgerald missed both deadlines. He promised copy for 15 June but was unable to deliver. Eventually he sent the stories, in groups of three or four, during late June and early July. BThe correspondence with Perkins does not disclose whether he sent magazine tearsheets or typescripts, or whether he revisedthe texts before sendingthem to Perkins for typesetting.) Perkins hadtexts of all of the stories in handby 6 July; by the 17th he was forwarding batches of proofs to Fitz- gerald, as these proofs came from the Scribner Press. There was some confusion when an of®ce worker sent one set of proofs immediately back to the press rather than to Fitzgerald for checking; Scribners also neglectedto sendFitzgeralda proof of ``Porcelain andPink'' until Tales was almost ready to be printed. FitzgeraldandPerkins stayedin contact by letter andtelegram, however, andFitzgeraldeventually was able to readandrevise proof for the entire collection.

Introduction xv

3. disagreements

Two differences of opinion arose during the production of Tales of the Jazz Age ± one early, before Fitzgeraldhadsubmittedthe texts of the stories, andone later, after Perkins hadreadthem. The ®rst problem involvedthe title of the collection, which the Scribners salesmen did not like. Perkins explained the situation to Fitzgerald in an 8 May letter: When we got our selling force together for a conference before they went out on their ®rst selling trip for the fall, there were loudandprecipitous criticisms of the title, ``Tales of the Jazz Age''. They feel that there is an intense reaction against all jazz andthat the wordwhatever implication it actually has, will itself injure the book. . . . Your own instinct has proved so goodthat you ought not to be overruledby numbers, but give the point consideration. Fitzgeraldansweredat length on 11 May, arguing that the title was indeed appropriate for the collection. `Ìt will be bought by my own personal public, that is by the countless ¯appers andcollege kids who think I am a sort of oracle,'' he said. `Ìt is better to have a title + a title-connection that is a has-been than one that is a never- will-be. The splash of the ¯apper movement was too big to have quite died downÐthe outer rings are still moving.'' To amuse Perkins he added: `Ì might possibly call my book Nine Humans and Fourteen Dummies if you'dpermit such a long title Bin this case I'dhave to ®gure out how many humans + how many dummies there are in the collection).'' Perkins was convinced, and the title was not changed. Perkins mountedmore serious objections to ``Tarquin of Cheap- side,'' a story which Fitzgerald had originally composed at Prince- ton andpublishedin the Nassau Literary Magazine in April 1917. He hadrevisedandexpandedthestory andhadrepublishedit in the Smart Set for February 1921. The narrative is an imagined rendering of the genesis of William Shakespeare's Rape of Lucrece; the story suggests that the Bardwas himself a rapist Ba seducer, really) andthat his act inspiredhim to write the poem. On 2 August, as the stories were being typeset, Perkins sent these comments on ``Tarquin'' to Fitzgerald:

xvi Introduction

I think it wouldshock many people not because of the particular crime recorded, but because of the identity of the man accused of it. The crime is a peculiarly repugnant one for it involves violence, generally requires unconsciousness, is associatedwith negroes. All this wouldmake no difference, or little, if the story were artistically convincing: I don't think it is. The narrative is not adequate to the ending. The poem, with its philosophical beginning andall, doesnot suggest BI think) the psychology of an author in the situation you present. Anyhow, this is my view, ± for your consideration, if you will give it. Fitzgeraldspent a week correcting andrevising the proofs and thinking about Perkins' objections to ``Tarquin.'' In his return letter he defended the story, citing authorities: It ®rst appearedin the Nassau Literary Magazine at Princeton and Katherine Fullerton Gerouldreviewing the issue for the Daily Princetonian gave it high praise, calledit ``beautifully written'' andtickledme with the ®rst public praise my writing has ever had. When Mencken printed it in The Smart Set it drew letters of praise from George O'Niell, the poet and Zoe Akins. Structurally it is almost perfect andnext to The Off-Shore Pirate I like it better than any story I have ever written. If you insist I will cut it out though very much against my better judgement and Zelda's. It was even starred by O'Brien in his year book of the short story andmentionedby Blanche Cotton Williams in the preface to the last O Henry Memorial collection. Please tell me what you think. Perkins conceded. ``As for `Tarquin', I have left it in,'' he wrote on 15 August. ``My objections . . . arise from the fact that people have a sort of reverence for Shakespeare, although of course they know that he was none too well behaved.''

4. design Fitzgeraldalso workedwith Perkins that spring to give Tales of the Jazz Age an appearance markedly different from that of his ®rst three books. He paidattention to the typography, casing, anddust jacket of the volume, exerting as much control as he couldover the physical look of the ®nal product. Early in April, Fitzgerald sent this request to Perkins: ``For jacket I shouldsuggest something like cover of last Smart Set with girls + men insteadof drunks.You

Introduction xvii

know like a Vanity Fair cover.'' Fitzgerald had disliked the dust- jacket illustration on The Beautiful and Damned, a two-color drawing by the artist W. E. Hill showing a man and woman who lookedvery much like FitzgeraldandZelda.``The girl is excellent of course,'' Fitzgeraldhadwritten to Perkins in January, but the man, he thought, was ``a debauched edition of me.'' ``He looks like a sawed-off young tough in his ®rst dinner-coat,'' the author added. Fitzgeraldwanteda different illustrator for Tales of the Jazz Age. The style of artwork that Fitzgeraldsuggestedfor Tales was light andamusing, of a piece with his descriptions in the table of contents. The magazine covers he mentions, for Smart Set and Vanity Fair, were illustrated with mildly satirical drawings of sophisticated, well-dressed young men and women.2 Fitzgerald does not mention him by name, but the illustrator most closely associatedwith this style of artwork during the 1920s was John Held, Jr. B1889±1958), a cartoonist and writer whose drawings were featuredin magazines andon book jackets andposters throughout the Jazz Age.3 Scribners did engage Held to provide the jacket art for Tales of the Jazz Age ± andfor the book text of Fitzgerald's play The Vegetable in 1923. Heldproducedanassort- ment of energetic ¯apper ®gures for Tales, including a drummer, a saxophonist, and several dancing couples. Certainly Held's ®gures caught the spirit of the lighter stories andplays in the collection, though they hardly ®t the tone of the better narratives ± especially of ``Diamond'' and ``May Day.'' Fitzgerald, though, was pleased with Held's work: ``The jacket is wonderful,'' he wrote to Perkins, who hadsent him a trial proof ± ``the best yet andexactly what I wanted.''

2 For a goodexample see Held's cover for the April 1921 issue of Vanity Fair. The ®gures are quite similar to those on the dust jacket of Tales of the Jazz Age. 3 See Shelley Armitage, John Held, Jr.: Illustrator of the Jazz Age BSyracuse, N.Y.: Syracuse University Press, 1987).

xviii Introduction

5. ®nal choices

Fitzgeraldhadby now settledon which stories he wishedto include. In the published edition of Tales of the Jazz Age they are as follows: ``The Jelly-Bean,'' Metropolitan Magazine 52 BOctober 1920); ``The Camel's Back,'' Saturday Evening Post 192 B24 April 1920); ``May Day,'' Smart Set 62 BJuly 1920); ``Porcelain and Pink,'' Smart Set 61 BJanuary 1920); ``The Diamondas Big as the Ritz,'' Smart Set 68 BJune 1922); ``The Curious Case of Benjamin Button,'' Collier's 69 B27 May 1922); ``Tarquin of Cheapside,'' Nassau Literary Magazine 73 BApril 1917) and Smart Set 64 BFebruary 1921); ``Ò Russet Witch!''' Metropolitan Magazine 53 BFebruary 1921); ``The Lees of Happiness,'' Chicago Sunday Tribune B12 December 1920); ``Mr. Icky,'' Smart Set 61 BMarch 1920); and``Jemina,'' Nassau Literary Magazine 72 BDecember 1916) and Vanity Fair 15 BJanuary 1921). Tales of the Jazz Age was publishedon 22 September 1922 in a ®rst printing of 8,000 copies andpricedat $1.75. The collection hada goodinitial sale; two more impressions, each of 3,000 copies, were issuedin October. Most of the notices were positive or at least neutral, though surprisingly few reviewers singledout ``May Day'' and``The Diamondas Big as the Ritz'' for special praise. Many book critics took their cues from the playful appearance of the jacket andthe irreverent tone of the table of contents. An anonymous reviewer in the 28 October Baltimore Evening Sun, for example, foundthe stories ``tossedoff in rather debonair manner to show how easy it all is,'' andthe unnamedreviewer for the 8 October San Francisco Chronicle calledthem ``pictures of fast, frivolous andfutile life.'' Stephen Vincent BeneÂt, writing for the 18 November Literary Review of the New York Evening Post, felt that the collection left Fitzgerald`ìn every sense where he was before.'' Fanny Butcher, in the Chicago Sunday Tribune for 31 December, calledthe narratives ``charming'' and`àmusing,'' and John Farrar, writing in the 8 October New York Herald, compli- mentedFitzgerald's ``youthful verve andhis virtuosity.'' H. L. Mencken, who hadadmired This Side of Paradise, found Tales to be disappointing: ``The spread between Fitzgerald's best work and

Introduction xix

his worst is extraordinarily wide,'' he noted in the July 1923 Smart Set. The most discerning review came from Fitzgerald's Princeton friendEdmundWilson in the November 1922 Vanity Fair: the stories presented``the Fitzgeraldharlequinadewith a minimum of magazine hokum,'' wrote Wilson, though he was contemptuous of ``The Lees of Happiness,'' calling it an exploration of ``the nuances of the ridiculous.'' The press in Fitzgerald's home town was favor- able, typi®ed by Woodward Boyd's ``The Fitzgerald Legend,'' a long andblandly sympathetic pro®le of the author publishedin the 10 December St. Paul Daily News. Fitzgerald's presentation of his stories reminded Boyd of a ``happy father exhibiting his children.'' The book was ``well-constructed,'' and the stories showed ``vital- ity'' and``humor.''

6. editorial principles

The selections in this Cambridge edition can be divided editorially into two groups: the stories andone-act plays publishedby Fitzgeraldin the original 1922 Scribners editionof Tales of the Jazz Age, and the seven additional stories, which appeared before the formal publication of The Great Gatsby, his next novel, on 10 April 1925, andwhich were never includedbyFitzgeraldin one of his own short-®ction collections. These two groups will be dis- cussedseparately in the textual commentary that follows.

Texts from the 1922 edition:

Ten of the eleven items in the original edition of Tales have a relatively simple textual history. No prepublication materials ± manuscripts, typescripts, or proofs ± appear to survive for any of these items. BThe exception is ``The Lees of Happiness,'' discussed below.) To establish the texts for the ten stories andplays one must work with the serial versions andwith the texts publishedin the 1922 Scribners edition. The serial texts have been collated against the collectedtexts, andthe numerous variants noted± substantive and accidental. No copy-text has been formally declared. Instead

xx Introduction

the procedure followed is that outlined in G. Thomas Tanselle's seminal article `Èditing without a Copy-Text'' BStudies in Biblio- graphy 47 [1994]: 1±22).4 For editorial purposes, equal authority is vested in the serial and collectedversions. When variants are present, the editorhas chosen the readings judged authorial and has recorded the decisions in the apparatus. Substantive variants present almost no problems; the differences between serial and book versions appear, without exception, to be authorial; there is no evidence of editorial tampering or of unwarranted`ìmprovements'' by copy-editorsor compositors. This is not a surprising circumstance, since Maxwell Perkins was not an intrusive line editor, nor were the Scribners copy-editors heavyhanded with Fitzgerald's prose. There were no readings in the stories that might have invited bowdlerization. As for post-publication alterations, Fitzgeraldaskedfor only one change in the printedplates; at 232.6, the word`ànd'' was altered to `àn'' ± a change accepted for the Cambridge text and recorded in the apparatus. Fitzgeraldmadesigni®cant revisions to the serial text of each story that he included in Tales of the Jazz Age. These revisions, recorded in the apparatus of this volume, will repay close study by the scholar andcritic. They show the author at work, polishing language anddialogue andsharpening characterization. The variants for ``The Camel's Back'' and``The Diamondas Big as the Ritz'' are especially revealing of Fitzgerald's habits of revision.5 Other changes are even more signi®cant: at the endof the Smart Set version of ``May Day,'' for instance, Fitzgeraldonly hintedat Gordon's suicide; for Tales he made the suicide explicit. He revised a passage in the same story Bat 66.22 of this volume) to attribute Gordon's problems both to alcohol and to a general failure of will; in the serial text Gordon's dif®culties had been blamed only on

4 For elaboration anddiscussionof the applicability of Tanselle's methodto Fitzgerald's texts, see the Cambridge edition of This Side of Paradise, ed. James L. W. West III B1995): xl±xliv. 5 DavidJ. F. Kelley, ``The Polishing of `Diamond,''' Fitzgerald Newsletter, no. 40 BWinter 1968).

Introduction xxi

drinking.6 A ®nal example: Fitzgeraldpointedthe moral more strongly at the endof the Tales text of ```O Russet Witch!''' than he hadin the magazine version. The rejectedserial readings for all of these passages can be foundin the apparatus. The single story in this volume for which pre-publication material survives is ``The Lees of Happiness.'' An unmarked carbon typescript of an early version of ``Lees'' is preservedamong Fitzgerald's papers at Princeton. Collation of this text with the two publishedtexts Bserial and®rst edition)reveals that Fitzgerald made heavy revisions, probably on the lost ribbon copy, and then likely hada fresh typescript preparedfor the compositors at the Chicago Sunday Tribune, where the story ®rst appeared. The collation has uncovered no evidence of editorial meddling or bowdlerization between the carbon typescript text and the Tribune or the ®rst-edition texts. The revisions to the typescript text were so extensive, though, that it effectively constitutes a separate version of the story. The substantive variants between this early carbon andlater forms of the text are includedin a separate table in the apparatus. The carbon has been useful as a source of accidental emendations, since its punctuation and word division are closer to Fitzgerald's hand than either the newspaper or ®rst-edition texts. The dummy of Tales, mentionedabove, provides an early printedtext of several pages of ``The Jelly-Bean.'' Scribners had approximately the ®rst 2,200 words of the story typeset and printedoff for the dummy so that bookshop owners couldsee the type face in which the publishedtext wouldappear. Collation of this dummy text with the corresponding text of the ®rst edition reveals that Scribners set the dummy section from a copy of the serial text of ``The Jelly-Bean,'' from Metropolitan Magazine, October 1920. These dummy variants are marked with the siglum D in the apparatus; they provide no source of new readings for the Cambridge text, since all of them match variants in the serial text.

6 Colin S. Cass, ``Fitzgerald's Second Thoughts about `May Day': A Collation and Study,'' Fitzgerald/Hemingway Annual 1970: 69±95.

xxii Introduction

``The Camel's Back'' exists in a potentially useful text ± that publishedin the O. Henry Memorial Award Prize Stories of 1920, a collection issuedby Doubledayin 1921. Fitzgeraldcouldhave revisedthe story for its outing in the O. Henry volume, but collation of the serial text from the Post with the O. Henry text turns up only two substantive changes, one of which is a typographical error B``will'' for ``all'') andthe other an illogical trans- position B``downstairs going'' for ``going downstairs''). The correct readings are found at 53.22 and 45.16 of the Cambridge text. The two stories that Fitzgeraldpublished®rst in the Nassau Literary Magazine ± ``Tarquin'' and``Jemina'' ± were revisedso heavily by him for subsequent serial appearances Bin the Smart Set and Vanity Fair) that the texts are non-collatable. The Nassau Lit texts constitute separate versions which will be included in the Cambridge volume of the author's juvenilia. No variants from the Nassau Lit texts appear in the apparatus of this volume. Variants are recorded, however, between the serial and collected texts of the two stories. The revisions between the Smart Set and Tales versions of ``Tarquin'' are relatively minor andrequire no special comment. The Vanity Fair text of ``Jemina,'' however, appears to have been cut to ®t on a single page of that magazine, p. 44 of the January 1921 issue. Vanity Fair dropped two paragraphs near the end of the story andomittedthe entire ®nal section, ``As One.'' The cuts were restoredby Fitzgeraldfor Tales; the full texts appear in this edition.

Accidentals:

For the items selectedby Fitzgeraldfor Tales, there is heavy variation between the serial accidentals and those in the Scribners edition. It is probable that neither the book nor the serial accidentals re¯ect Fitzgerald's habits in his holograph drafts. Each magazine hadits own style of pointing andspelling; Scribners, for its part, imposeda quasi-British style of orthography andword division which employed such forms as ``centre,'' ``to-day,'' and ``organisation.'' Fitzgerald's surviving manuscripts from this period, especially

Introduction xxiii

the handwritten drafts of This Side of Paradise and The Beautiful and Damned, show an open andfree style of punctuation. He normally did not use a comma between two adjectives of equal weight; customarily he omittedthe comma before the last element in a series. Often Fitzgeralddidnot use a comma before the conjunction in a compoundsentence, though he wouldinsert one when there was a possibility of confusion. When the texts for the original items in Tales show accidental variation between serial andbook, the editor has selectedthe reading that is closer to Fitzgerald's practice in holographs from this periodof his career. The editor has not, however, imposedan arti®cial system of pointing typical of Fitzgerald's habits in his manuscripts. To do so would only be to impose a new house style on these texts. All decisions about accidentals are recorded in the apparatus.

Additional stories: The seven short stories added to this Cambridge volume are those publishedby Fitzgeraldbefore the appearance of The Great Gatsby in April 1925, but never collectedby him. They are as follows: ``Dice, Brassknuckles andGuitar,'' Hearst's International 43 BMay 1923); ``DiamondDick andthe First Law of Woman,'' Hearst's International 45 BApril 1924); ``The ThirdCasket,'' Saturday Evening Post 196 B31 May 1924); ``The Unspeakable Egg,'' Saturday Evening Post 197 B12 July 1924); ``John Jackson's Arcady,'' Saturday Evening Post 197 B26 July 1924); ``The Pusher- in-the-Face,'' Woman's Home Companion 52 BFebruary 1925); and``Love in the Night,'' Saturday Evening Post 197 B14 March 1925). Two of the stories were republished during Fitzgerald's lifetime. ``John Jackson's Arcady'' appeared as a separate pamphlet edition in 1928; this version was heavily cut and``arranged'' by Lilian Holmes Strack. This abridged text was published in a series called Baker's Manuscript Readings, provided for elocution contests by the Walter H. Baker Co., Boston. Its text has no authority; the variants with the serial text are not recorded in the apparatus.

xxiv Introduction

``The Pusher-in-the-Face'' was included in Cream of the Jug: An Anthology of Humorous Stories, ed. Grant Overton BNew York: Harper andBrothers, 1927). There are no substantive variants between the serial text andthis anthology text; the only changes are a few adjustments in word division and hyphenation. These accidental variants, inconsequential and without authority, are not included in the apparatus. At some point after the 1922 publication of Tales of the Jazz Age, Fitzgeraldmadeheavy revisions to a set of tearsheets of ``Dice, Brassknuckles andGuitar.'' He savedthe tearsheets, which survive in his papers at Princeton. His reasons for reworking the story are not known, but it seems likely that he thought of including it in All the Sad Young Men B1926), the collection of stories that followed The Great Gatsby. Fitzgerald's revisions are major and include heavy cuts in the secondhalf of the narrative. The se revisions are recorded in the emendations lists for this volume. Fitzgerald was apparently trying to revise ``Dice'' to minimize its similarity to Gatsby. ``Dice'' Blike several of the additional stories in this volume) is an early treatment of themes in the novel; some of Fitzgerald's cuts remove lines reminiscent of wording in Gatsby.7 The revision of the tearsheets can be dated to 1924 or later because Fitzgerald replacedthe titles of two songs mentionedin the serial text with Irving Berlin's ``All Alone'' andVincent Youmans' ``Tea for Two,'' both ®rst performedin 1924. The tearsheet revisions for ``Dice'' are acceptedfor the Cambridgetext; this version of the story appears here for the ®rst time. Fitzgeraldalso kept a set of tearsheets for ``DiamondDick and the First Law of Woman.'' On that set he made only one emendation ± the shortening of the title to ``DiamondDick'' ± perhaps a restoration of his own original title, alteredby the editors at Hearst's International. The abbreviatedtitle is acceptedfor the Cambridge text.

7 In the unrevisedserial text, the character Amanthis says, ``You're better than all of them put together, Jim.'' On the tearsheets Fitzgeraldrevisedto: ``You're nicer than any of them, Jim.'' Fitzgeraldwas probably removing the echo of Nick Carraway's remark to Gatsby, ``You're worth the whole damn bunch put together,'' at 185.2±3 of the Scribners ®rst edition.

Introduction xxv

Since only one text Ba magazine text) survives for each of the additional stories, the handling of accidentals is simple. Those of the serial text are acceptedfor this edition;a very few regulariza- tions, coveredin the statement about blanket emendations, have been made.

Posthumous reprints:

``The Jelly-Bean,'' ``The Camel's Back,'' ``The Curious Case of Benjamin Button,'' ``Tarquin of Cheapside,'' ``The Lees of Happi- ness,'' and```O Russet Witch!''' were reprintedin Six Tales of the Jazz Age and Other Stories, intro. by Francis FitzgeraldLanahan BNew York: Scribners, 1960). ``Jemina'' appearedin F. Scott Fitzgerald in His Own Time: A Miscellany, ed. Matthew J. Bruccoli andJackson R. Bryer BKent, Ohio: Kent State University Press, 1971). All of the additional stories in this Cambridge volume were included in posthumously published collections: ``Love in the Night'' was reprintedin Bits of Paradise: 21 Uncollected Stories by F. Scott and Zelda Fitzgerald, ed. Matthew J. Bruccoli BLondon: Bodley Head, 1973; repr. New York: Scribners, 1974). A second edition of Bits of Paradise BNew York: Pocket Books, 1976) included``Dice, Brassknuckles andGuitar.'' That story, andthe other six additional stories, were reprinted in The Price Was High: The Last Uncollected Stories of F. Scott Fitzgerald, ed. Matthew J. Bruccoli BNew York: Harcourt Brace Jovanovich, 1979). Linda Berry, in ``The Text of Bits of Paradise,'' Fitzgerald/Hemingway Annual 1975: 141±5, gives alterations in the serial texts repub- lishedin that collection. No similar recordhas been publishedfor The Price Was High. Collation of the texts in both collections reveals no fresh authority andonly minimal variation from the serial texts. Obvious typographical errors have been mended, and some punctuation has been alteredto make the texts conform with Fitzgerald's known habits of pointing. Because Bits of Paradise was typeset in England, it exhibits a British system of punctuation, repeatedin the Scribners reprint, which was photo-offset from the British text.

xxvi Introduction

British texts:

Serial versions of six of the stories included in this volume appearedin British magazines. The citations are as follows: ``The Camel's Back,'' Pearson's BJuly 1921); ``The ThirdCasket,'' Pear- son's BNovember 1924); ``Love in the Night,'' Woman's Pictorial B9 May 1925); and``May Day,'' ``Porcelain andPink,'' and``The Diamondas Big as the Ritz'' in the British editionof the Smart Set BJuly 1920, January 1920, June 1922). The ®rst three of these stories were refashioned by British editors for their reading audi- ences. American settings were changedto British locales, American slang became British slang, passages were cut andrewritten in wholesale fashion. Nothing in Fitzgerald's surviving papers, or in his correspondence with his agent, indicates that he was in any way responsible for these changes ± or even aware of them. The alterations are of a piece with similar surgery performedon the British serial texts of ``Bernice Bobs Her Hair,'' ``The Offshore Pirate,'' and``HeadandShoulders'' ± all three from Flappers and Philosophers, Fitzgerald's ®rst short-story collection. These various narratives seem to have been regarded by the British magazine editors as literary piecework and were freely adapted for their readers. This is not true, however, for the British Smart Set texts. For these three stories a few adjustments were made in accidentals to re¯ect British usage B``color'' becomes ``colour,'' ``somber'' is alteredto ``sombre,'' for example). A ``stag'' in the American text of ``May Day'' is a ``bachelor'' in the British setting; a ``date'' becomes an ``appointment'' in ``Porcelain andPink.'' Otherwise the American andBritish Smart Set texts are the same. The rewritten British serial versions for Pearson's and Woman's Pictorial do not ®gure in the clothbound British edition, which was freshly typeset andpublishedin March 1923 by the ®rm of W. Collins Sons andCo., which hadalso publishedFitzgerald's ®rst three books in Britain. Three substantive variants exist between the American andBritish texts; two of them are errors in the British text. At 39.4 of the American text, ``hump'' becomes ``lump''; at 114.12 ``You're'' is corruptedto ``Your.'' The correct readings, from the American text, appear at 42.29 and 104.26 of

Introduction xxvii

the Cambridge edition. The third substantive variant involves the name of Lady Diana Manners, whom Fitzgerald had mentioned in ``The Jelly-Bean.'' Lady Diana BDiana Cooper) had starred in three early British silent ®lms; Evelyn Waugh, ArnoldBennett, and Nancy Mitfordhadbased®ctional characters on her. 8 Laurence Pollinger, the literary agent who handled the sale of Tales to Collins for the Curtis Brown International Publishing Bureau, suggestedto Scribners that the name be changed,explaining that ``the law of libel here is so very stringent.'' Fitzgeraldcomplied, altering the name to ``Lady Cynthia Manley.''9 The change is not adopted for the Cambridge text, since it was based only on nervousness about British libel law in 1922.

Regularized features: Fitzgerald's habit was to use American spellings, but he did employ some British forms: ``glamour,'' ``grey,'' and``theatre,'' for example. The British spellings of these words are used throughout this volume. Fitzgerald's manuscripts show that he was inconsistent about word division, but analysis of the drafts does yield certain preferences: ``good-bye,'' for example, or ``worth while'' or ``anybody.'' These and similar compounds are regularized in the text; a list of the forms is given in the apparatus. Fitzgeraldpreferredto use italics only for emphasis andfor words in other languages. He enclosed names of newspapers, titles of books, andnames of other literary works within quotation marks. These preferences are followedin the text of this edition.In the stories added to this volume, the only narrative breaks retained from the serial texts are those indicated by roman or arabic numerals. BSometimes the section numeral `I' was omittedfrom the text; it has not been restoredby emendation.) Nonstructural breaks, usually signaledin the serial text by extra space anda display cap, are removed.

8 See Philip Ziegler, Diana Cooper BNew York: Knopf, 1982). 9 Pollinger to Scribners, 28 September 1922, Scribners archive, Princeton. Fitz- geraldsent the alternate name to Perkins in an undatedB c. October 1922) letter. The changes were made, with cancels and paste-ins, in the second state of the Collins ®rst printing.

xxviii Introduction

The following additional features have been regularized in con- formity with decisions for the Cambridge Edition as a whole: names of seasons are lower-case; dashes within sentences are one em in length, those that endsentences are two ems; years are given in arabic numerals; three ellipsis points appear within sentences, four at the ends of sentences; numbers of avenues in New York City are spelledout, cross-streets are given in arabic numerals; ``Mother'' and``Father'' as proper nouns are capitalized.