Hemingway, Fitzgerald and the Development of a Writing Career

December, 2011

by LaLeesha T. Haynes

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Table of Contents Introduction ...... iv

Guide to Editorial Practice ...... vi

Symbols and Emendations ...... ix

Editorial Symbols...... xi

Hemingway Publications from 1925-1927 ...... xii

Transcription of Letters...... 1

Document 1 | December 31, 1925 ...... 1

Document 2 | April 20th, 1926...... 6

Document 3 | May 4, 1926 ...... 12

Document 4 | June, 1926 ...... 14

Document 5 | August 12, 1926 ...... 24

Document 6 | August 17, 1926 ...... 25

Document 7 | September 7, 1926 ...... 27

Document 8 | September, 1926 ...... 30

Document 9 | November 24, 1926 ...... 33

Document 10 | December, 1926 ...... 36

Document 11 | December 23, 1926 ...... 37

Letters Facsimile Section ...... 39

Facsimile 1 | December 31, 1925 ...... 39

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Facsimile 2 | April, 1926 ...... 44

Facsimile 3 | May 4, 1926 ...... 50

Facsimile 5 | August 12, 1926 ...... 61

Facsimile 6 | August 17, 1926 ...... 62

Facsimile 7 | September, 1926 ...... 65

Facsimile 8 | September, 1926 ...... 68

Facsimile 9 | September, 1926 ...... 71

Facsimile 10 | December, 1926 ...... 74

Facsimile 11 | December 23, 1926 ...... 75

Emendation List ...... 77

Document 1 | December 31, 1925 ...... 77

Document 2 | April 20th, 1926 ...... 77

Document 3 | May 4, 1926 ...... 77

Document 4 | June, 1926 ...... 78

Document 5 | August 12, 1926 ...... 80

Document 6 | August 17, 1926 ...... 80

Document 7 | September 7, 1926 ...... 80

Document 8 | September, 1926 ...... 80

Document 9 | November 24, 1926 ...... 81

Document 10 | December, 1926 ...... 81

Document 11 | December 23, 1926 ...... 81

Index ...... 82

Works Cited ...... 84

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Introduction

This selective, scholarly edition of Ernest Hemingway and F. Scott Fitzgerald documents was compiled in conjunction with the help of Creighton University, The John F. Kennedy

Library, and Princeton University. These institutions have provided support, copies of the original letters, and copies of microfiche. Using photocopies instead of the original documents was a challenge of the project. The edition is a hybrid resource for scholars that provides annotated transcriptions and document facsimiles. The letters are organized chronologically and supplemented with editorial notes, an editorial apparatus, and an index. The letters in this edition were selected because of their relationship to Hemingway‘s early publications. The years of

1925-1927 were particularly productive times for Hemingway. It was during this time that he was becoming a novelist and writing stories that were indicative of the changes that were going on in his own life. The edition should show how Hemingway‘s friendship with Fitzgerald not only helped him establish publication ties with Charles Scribner‘s Sons (Scribners), but also impacted his writing. The documents begin with a letter dated December 31, 1925 to F. Scott

Fitzgerald from Ernest Hemingway in which Hemingway states, ―Am turning down a sure thing for delay and a chance but feel no regret because of the impression I have formed of Maxwell

Perkins through his letters and what you have told me of him. Also confidence in Scribners and would like to be lined up with you.‖ The letters come to a close on December 31, 1926 with a letter from Fitzgerald to Hemingway where he writes, ―I will try to look out for your interest with Scribner in America, but I gather that the need of that is past now and that soon you‘ll be financially more than on your feet.‖ The letters in this edition were selected from letters requested from the John F. Kennedy library dated 1925-1932. The criteria used for this selection

iv | P a g e was the date of the document and the impact it had on the Hemingway‘s early writing and publication.

The goal of this edition is to include, ―a collection of accurate and reliable transcriptions of those elements of the sources that can be either translated into printed symbols or adequately described in editorial notes‖ (Kline and Perdue 216). It also gives readers exciting insight into how the friendship between these two men impacted American literature. This selection of letters will give readers a glimpse into a time when Fitzgerald helped Hemingway get his material published with Scribners and other smaller contracts. Readers will also see how Hemingway, new to the business of novel publication, seeks out financial advice regarding subsequent, international printings of In Our Time and the submission of short stories to various magazines and publishing houses. This edition also shows some interesting insights into the lives of both

Hemingway and Fitzgerald. The letters highlight the separation and divorce of Hadley and Ernest and the beginning of Fitzgerald's work on Tender is the Night--which he struggled with until

1930.

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Guide to Editorial Practice

A goal of this project was to create an edition that was readable while maintaining reliability. Although there are some unconventional practices in this edition, its goals and emendations line up best with a plain text edition as described by in Mark Twain’s Notebooks &

Journals, Volume 1 (1855–1873), ―Plain text, however, descends from a kind of transcription not mentioned by Bowers, in which the myriad details of a manuscript (particularly the author‘s alterations to it) are systematically divided between the text and its apparatus, precisely in order to make the text as complete and informative as possible without destroying its legibility‖

(Anderson, Frank and Sanderson 575-584) Emendations are minimal and used only to highlight the author‘s original words and process of writing. The circle symbol is used to indicate places where the author had circled text; both Hemingway and Fitzgerald circle the page numbers in their letters and there are a few cases where Fitzgerald circles text for emphasis.

These symbols are not emendations, but part of the transcription of the original document. The edition also employs a unique strategy for line breaks, page breaks, and indentations. Page breaks always occur as they did in the original document; each page of transcription represents a single page in the original document. Line breaks are made in the transcription as they were in the original document. Although this creates a lack of symmetry in the document, it allows the reader to match up the original lines in the letters with those of the transcription. This should be beneficial in comparing emendations to the original document. The indentations strategy is meant to accomplish the same goals. The editor represents indented paragraphs as they were in the original letter. The line breaks and indents are meant to create a spatial representation of the documents. This allows the reader to gain historical insight while maintaining an edition that is clear and easy to understand.

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It was decided that the letters have ―some editorial changes‖ or silent emendations and the ―edited text will not be ―clear text‖—that is, it will incorporate bracketed and footnoted insertions (Tanselle, The Editing of Historical Documents 10). Emendations are made to simplify the text and make it more readable—a plain text edition as described by the Sanderson and mentioned in Tanselle‘s ―Principles for Editorial Apparatus‖ was the guide used for this edition.

The emendations are modeled after those discussed in the ―Guide to Editorial Practice‖ in the online edition of the Mark Twain Project:

We require two things of every transcription in plain text: (a) it must be sufficiently

faithful to the text of the letter to serve as the most reliable substitute now possible for it;

and (b) it must be easier to read than the original letter, so long as its reliability is

preserved intact. To the extent that maximum fidelity and maximum legibility come into

conflict, this way of linking them ensures that neither goal is maximized at undue

expense to the other (Mark Twain Project: Guide to Editorial Practice).

To support these theories regarding editing historical documents, all cases of emendations are described in the original rational or noted in the text and meant to be representative of the original. Following these guides the edition should produce reliable, readable letters. This means that obscure or unidentifiable words or phrases will be recognized, and there will be no spelling or punctuation ―improvements‖ throughout the letters. This is another way in which this edition identifies itself with a plain text edition, ―Errors made by the writer are not emended so long as they can be intelligibly transcribed. Some few errors of omission may be corrected by editorial interpolation—that is, by supplying an intended but omitted character, word, or words within editorial square brackets, ‗thu[s]‘ or ‗―thus[‖]‘—but only when the editor is confident that the writer has inadvertently omitted what is thus supplied‖ (Mark Twain Project: Guide to Editorial

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Practice). Like the Mark Twain Letters Project, the only additions to the document are missing alphabetic letters that were identified as possible typist errors that occur in the middle of words and superscripted numbers to identify words and phrases associated with annotated text.

Documents in this edition include editorial or explanatory annotations at the end of the page; they are given the first time the corresponding name, place, or publication appears in the edition and they will not be repeated. ―The editorial aim for the annotation is to explain, where necessary, what the letter says and when, where, and to whom it was written, as well as how the editors have established the text published here from the relevant available documents‖ as described by the Mark Twain Project (Mark Twain Project: Guide to Editorial Practice). Notes are created to identify people, places, publications, and publication information. They are also used to translate text from French to English. Items that were unable to be sufficiently supported by scholarly resources were not noted.

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Symbols and Emendations

While transcribing these documents the editor always worked to ensure revisions made by the authors are shown in the most accurate way possible. In order to create the most efficient, historical edition of these private documents it was deemed important to keep editorial symbols to a minimum. There are times, especially in Fitzgerald‘s letter dated June, 1926, where there are different levels of changes in a single line or section of the document. In order to create an edition that showed the process of the writer, the editor used textual evidence to list the emendations. The emendations for those sections are simplified into individual lines, but listed purposefully in a temporal order of their appearance on the page. The representation of these changes is based on the editor‘s understanding of the author‘s compositional process.

The emendation symbols were selected to create an edition that is easy to read, but also work to show the author‘s writing process. As Tanselle points out, ―the editor must decide which pieces of information will produce the most useful symbols in a given situation‖ (Tanselle, Some

Principles for Editorial Apparatus 59). The symbols were selected based on their representation of the text—conventional editorial symbols for plain text editions were used illustrate emendations. ―All transcribed deletions are, with minor exceptions, fully legible to the editors, and were therefore arguably so to the original recipient of the letter‖ (Mark Twain Project: Guide to Editorial Practice). Crossed out sections of the original document like are represented in the emendation list as My God! and will not appear in the transcription of the text.

This separates these emendations from times where the authors have scribbled out (deleted) words which are represented by the symbol. A similar choice was made for authorial insertions that were made in the original document. If a document had an addition and the author inserted text above the line to make a change like the emendation shows this

ix | P a g e change as [Don I can wire to] the superscripted font shows that the text was added above the original line. The superscripted font symbol is also used for insertions that occur in combination with deletions because they are also addition to the original line. This type of emendation may look like in the original document and in the emendation list as [and don‘t my advice is not to do]. These fonts were chosen to simplify emendations for the reader—providing visual representation that allows for the re-creation of the original document. If the word(s) were heavily scratched out like this and the word underneath is not legible, or there was simply a scribble and no discernable alphabetic letter underneath then the scribble is eliminated from the transcribed text and the scribble symbol is added to the emendation list. The diamond symbol  is used to identify characters and words that are illegible. The reason for the differentiation between these symbols is the diamond symbol indicates a situation where the editor was unable to identify a character or word because of damage to the original document or the poor quality of a photocopy.

Emendations are located at the end of the text to avoid excessive editorial intrusion on the transcribed text. The edition does not differentiate between substantive and accidental emendations because all changes are identified as important and historic aspects of the document. The approach to the emendation list was not traditional because the editor found, "that it would be helpful to the reader to have an additional word or two of the context, to enable him to see more clearly the nature of the alteration involved, while he is looking at the list" (Tanselle,

Some Principles for Editorial Apparatus 72). The table that follows is a reference guide to show all editorial symbols.

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Editorial Symbols

this font is used for words that appear above the line or were added Superscript Example in by the author

[ ] is used for additions by the editor

Strikethrough is used when the original document has words crossed out

circle symbol is used when the author circles text in the original document

the ampersand sign [&] is used as a replacement for the & symbol used by both authors

the diamond symbol is used for letters and words that are illegible  and whenever possible the number of diamonds will indicate the number of characters that are illegible scribble symbol is used when a word has no legible letters underneath or there is a scribble on the page

Hemingway or Fitzgerald‘s brackets are indicated by this symbol to { } avoid confusion with the [ ] bracket used for additions

Superscript numbers always indicate a note created by the editor a1

Facsimiles of the letters are bordered such as the cropped selection to the left to create an indication of the letter‘s borders

The envelope symbol indicates the information that follows was on  an envelope included with the letter.

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Hemingway Publications from 1925-1927

Ernest Hemingway and F. Scott Fitzgerald were among a group of artists, novelists, poets, and otherwise interesting group of expatriates that spent the 1920‘s creating art that the world would talk about for generations. In 1925 when Hemingway and Fitzgerald ―bumped elbows‖ for the first time at the Dingo bar in Paris a friendship that changed the course of

Hemingway‘s career was formed. Although Leff notes in his biography, Hemingway and his

Conspirators, that Fitzgerald had already suggested Hemingway make the move to Scribners in

1924, it wasn‘t until he was released from a contract with Liveright that this change was made a possible (Leff 18). Hemingway‘s debut novel In Our Time was published in March of 1924 placing him under contract with Boni and Liveright publishing. Then in November 1925,

Liveright rejected his manuscript for The Torrents of Spring enabling him to switch publishers; at the time Liveright didn‘t have many options since The Torrents of Spring attacked their best- selling author Sherwood Anderson‘s recently published novel Dark Laughter. Although

Hemingway states in the letter dated December 31, 1925, ―I did not, however, have that in mind in any way when I wrote it.‖ This opportunity to change publishers and align himself with

Fitzgerald was an exciting opportunity for Hemingway. He no longer trusted Liveright and felt that Max Perkins would be a good editor. In fact, his belief in Perkins and Scribners led him to turn down contracts with both Harcourt and Knopf publishing houses. Torrents of Spring was published by Scribners on May 28th, 1926. Hemingway's decision to make the move from

Liveright to Scribners changed the course of his writing career and turned out to be a good business move that established his place in the literary scene of the 1920's--aligning him with F.

Scott Fitzgerald, Edith Wharton, Ring Larnder, and Thomas Wolfe.

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The Sun Also Rises was published by Scribners on October 22, 1926. This edition of the novel had undergone many changes since Hemingway first wrote it. Although some sources say that Hemingway denies Fitzgerald‘s impact on the novel, in the letter dated June, 1926 it shows the changes that were suggested. After reading Fitzgerald‘s letter, Hemingway followed his advice about deleting the first two chapters before he sent it to the printer. He also took

Fitzgerald‘s advice about cutting the opening anecdote of ―Fifty Grand‖ (1927), though he later quoted it and regretted the deletion of ―that lovely revelation of the metaphysics of boxing‖‘

(Meyers, Scott Fitzgerald A Biography 165). Regardless of the changes made, Fitzgerald‘s critique of Hemingway‘s work influenced his writing.

In September 1926, Hemingway sent a few of his short stories to publication houses and magazines to clear his desk and mind and focus on new projects. This clearing out of his old work came shortly after his split with Hadley because of his affair with Pauline Pfeiffer. This created an influx of his short stories in a variety of publications. ―Today is Friday‖ was a short story Hemingway published by the As Stable Publications in September of 1926. Other short stories printed during this time were, ―The Undefeated‖ which was printed in the 1925-1926 autumn edition of This Quarter and Best Short Stories of 1926 and ―Banal Story‖ which appeared in the 1926 Spring-Summer edition of the Little Review. ―The Killers‖, appeared in

Scribners magazine in March of 1927 and later that spring ―In Another Country‖ and ―A Canary for One‖ both appeared in Scribner’s Magazine in April 1927. These stories were promptly followed up by ―Che Ti Dice La Patria?‖ which was published as an article in the New Republic on May 18, 1927, but under the title of ―Italy 1927‖. ―Fifty Grand‖ appeared in the Atlantic in

July, 1927 and ―Hills of White Elephants‖ a controversial story, still discussed today was published in transition in August, 1927. Finally, ―An Alpine Idyll‖ was published in the

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American Caravan Anthology in September 1927. This collection of short stories showed some of the pains that Hemingway was feeling in his own life. The stories covered the topics of infidelity, divorce, death, and bullfighting. Each of these stories also appeared in the short story collection published by Scribners in October 1927 called Men Without Women (Hanneman 20-

21). The short story collection was printed with four additional short stories that had never been published: ―A Simple Enquiry,‖ ―Ten Indians,‖ ―A Pursuit Race,‖ and ―Now I Lay Me‖. This fascinating time in Hemingway‘s life is documented in his stories, personal letters, and later in the novel A Moveable Feast which is commonly considered his autobiography of his days in

Paris.

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Transcription of Letters

Document 1 | December 31, 1925

December 31, 1925

Dear Scott – 5 Have just received following cable from Liveright 1– Rejecting Torrents of Spring2 Patiently awaiting Manuscript Sun also Rises3 writing Fully ------10 I asked them in the letter I sent with the Ms. to cable me their decision. I have known all along that they could not and would not be able to publish it as it makes a bum out of their 15 present ace and best seller Andersen4. Now in 10th printing. I did not, however, have that in mind in any way when I wrote it Still I hate to go through the hell of changing publishers etc. Also the book should come out in the late Spring at latest that 20 would be best. Later would not be bad but Spring would be ideal. My contract with Liveright – only a letter – reads that in consideration of they‘re publishing my first book at their own expense etc. They are to have an option on my 25 first three books. If they do not exercise this option to publish within 60 days of receipt of ms. it lapses and if they do not exercise their option on the 2nd book it lapses fer 3rd book. So I‘m loose. No matter what Horace5 may think 30

1 Liveright was Hemingway‘s first commercial publisher. They published In Our Time in October of 1925 (Meyers 143).. 2 Hemingway was later released from the contract because they refused to publish Torrents of Spring—a parody of Sherwood Anderson‘s writing (Waldhorn 12). 3 The Sun Also Rises was published with Scribner‘s and Sons in October 1926. 4 Sherwood Anderson was ―at the height of his reputation, was Boni and Liveright‘s best-selling author (Meyers 167). 5 Horace Liveright was an American publisher. He founded Modern Library and Boni and Liveright publishers. 1 | P a g e

Document 1 | December 31, 1925

2 up in his letter to say. As you know I promised Maxwell Perkins6 that I would give him the first 35 chance at anything if by any chance I should be released from Liveright. So that is that. In the meantime I have been approached by Bradley (Wm Aspinwell)7 for Knopf8. 40 In the meantime I have the following letter from Louis Bromfield9.

Dear Ernest – Appropos of ―Torrents of Spring‖ I 45 received a letter today from Alfred Harcourt10 who replied at once to a line I had written \ taking the liberty after talking with you \ regarding the chances of your shifting publishers. He is very eager to see the Anderson piece and is thoroly familiar with your stuff – 50 both in the magazines and In Our Time11. In this connection he writes – ―Hemingway is his own man and talking off his own bat. I should say, Yea Brother, and we shall try to do the young man as much credit as he‘ll do us, and that‘s considerable. I‘d like to see his Andersen piece. 55 It‘s a chance for good fun, if not for too much money fer either of us. Hemingway‘s first novel might rock the country. He also stands ready to advance money in case you need it as soon as you like, provided you are free of Liveright and 60 want to go to Harcourt12. I was pleased to have so prompt and [] an answer, though, of course, it was to be expected. ect.

6 Maxwell Perkins was the editor for both Hemingway and Fitzgerald at Charles Scribner‘s Sons. He first met Hemingway in February 1926 (Bruccoli 24) 7 William Aspinwell Bradley was a literary agent who worked for Knopf Publishing. 8 Knopf Publishing was established in 1915 (About Knopf Doubleday Publishing Group). 9 Louis Bromfield was an early supporter of Hemingway and suggested he use Torrents of Spring to break from Liveright (Reynolds 138). 10 Alfred Harcourt was a publisher and founded Harcourt Brace and Howe. 11 In Our Time was published by Liveright in October of 1925. 12 Harcourt is another publishing company that was considering a contract for Hemingway. Today they are part of Houghton, Mifflin, Harcourt (Houghton Mifflin Harcourt : About Us). 2 | P a g e

Document 1 | December 31, 1925

3 So that‘s that. 3 In any event I am not going to Double Cross 65 you and Max Perkins to whom I have given a promise. I will wire Liveright tomorrow a.m to send manuscript to Don Stewart13 care of the Yale Club, New York (only address I can think of tonight) and summarize by cable any propositions he may be making me in 70 his letter. It‘s up to you how I proceed next. Don I can wire to send ms. to Max Perkins. You can write Max telling him how Liveright turned it down and why and your own opinion of it. I am re-writing the Sun Also Rises and it is damned 75 good. It will be ready in 2-3 months for late fall or later if they wish. As you see I am jeopardizing my chances with Harcourt by first sending the ms. to Scribner14 and if Scribner turned it down it would be very bad 80 as Harcourt have practically offered to take me unsight unseen. Am turning down a sure thing for delay and a chance but feel no regret because of the impression I have formed of Maxwell Perkins through his letters and what you have told me of him. Also confidence in Scribners and would like 85 to be lined up with you. You, however, are an important cog in the show and I hate to ask you to write even one letter when I know you are so busy getting away and all. However there is the situation. 90 I don‘t know exactly what to write to Bromfield. Perhaps you will suggest something. In any event

13 Don Stewart was Hemingway‘s friend and a writer. He is said to be the character of Bill Gorton in The Sun Also Rises (Leff 59). 14 Charles Scribner‘s Sons (Scribners) was an publishing house that was established in 1846 and published many great authors such as F. Scott Fitzgerald, Ernest Hemingway, Edith Wharton, Thomas Wolfe, Marjorie Kinnan Rawlings, and Ring Lardner (The House of Scribner). 3 | P a g e

Document 1 | December 31, 1925

4 say nothing to Bromfield who has been damned decent, 95 nor to anybody else in Paris till you hear from me. I will wire Liveright in the morning (to send ms. to Don at Yale Club.) Then when I hear from you I can wire Don to send ms. to Maxwell Perkins. write me Scribner‘s address. 100 Today is Thursday. You will get this letter on Saturday (perhaps/ The mail boats leaving are the President Roosevelt on Tuesday and the Majestic and Paris on Wednesday. Mark your letter via one of the latter 2 ships and it will go fastest. 105 Have been on a long trip all day. Tired as hell. Chinook for ten days. Snow all gave to slush. Suppose that I will spend all my advance royalties on cables again this year. Oh yes. That reminds me that the advance I want is $500. The advance I had on the short stories was $200. 110 God it feels good to be out from Liveright with the disturbing reports I have had from Fleishman 15ect. Liveright supposed to have dropped $50,000 in last []venture. Has sold ½ business sold Modern library etc. They ought to get someone like Ralph Barton 16or Held17 or Covarrubias18 to illustrate The Torrents. It has 5,000 more words than Don‘s first 115 Parody Outline of History19. Well so long. I‘m certainly relying on your good nature in a lousy brutol way. Anyway so long again and best love to Zelda 20and to you both from Hadley 21and 120 Ernest

15 Leon Fleishman was a well know Liveright scout (Leff 14). 16 Ralph Barton was the artist that illustrated the first edition of Torrents of Spring (Leff 32-33). 17 John Held was a famous illustrator during the 1920‘s. He illustrated for Fitzgerald‘s publication The Jazz Age. 18 Miguel Covarrubias was a famous illustrator during the 1920‘s. 19 Parody Outline of History was written by Donald Ogden Stewart in 1920 and was a satire of The Outline of History by H. G. Wells. 20 Zelda Fitzgerald was F. Scott Fitzgerald‘s wife. She is best known because of her mental instability during their marriage, but she was also a writer and a dancer. 21 Hadley Hemingway was Ernest‘s first wife. They were married on September 3rd, 1921 and together they had a son John Hadley Nicanor (Meyers 123). 4 | P a g e

Document 1 | December 31, 1925

New Years Morning P.S. Got to worrying last night and couldn‘t sleep. Do you think I aught to go to N.Y.? Then I would 125 be on the spot and could settle things without a six week lapse between every proposition also could be on hand to make or argue any excisions on Torrents. If Liveright wants to hang onto me as his cable indicates could settle that. 130 Also should get In Our Time plates if I change publishers Ect. Meantime I have to wait at least 2 weeks more for my new passport. Old one ran out Dec 20. Applied for new one Dec 8 or 9 – takes 5 weeks for it to come. 135 Well So Long anyway. Bumby22‘s very excited about going to get his new jockey cap, whip etc. I‘m going down to get them through the Customs today. Best to you always, 140 Ernest

22 Bumby was Ernest and Hadley‘s only son. Although, his birth name was John Hadley Nicanor he was always called Bumby by Ernest. He was born on October 10, 1923 (Meyers 123). 5 | P a g e

Document 2 | April 20th, 1926

April, 20th 1926 Dear Scott – Had a letter from Curtis Browne1 5 that Jonathan Cape 2wants to publish In Our Time and will pay 25 pounds advance and a copy 10% for and 3 D. British Empire rights not including Canada. Liveright wouldn‘t sell them sheets – they are going to set it up themselves. 10 Curtis Browne is going to be my Continental and British agents and say they are dickering with a german problem that wants I.O.T.3 I‘ve returned the proofs of 15 Torrents to Scribners a week or so ago. It looks very good. Sun Also Rises is all done and back from the typists 1085 francs what typing changes. So I guess I‘ll send it off . I‘ve 20 cut it to about 90,000 words. May dedicate it like this To My Son John Hadley Nicanor This collection of Instructive Anecdotes 25 I‘m hoping to hell you‘ll like it. You‘ll see it in August. I think maybe it is pretty interesting. Later – you won‘t like it. Chink4 is in town for 2 weeks. He and I are going to work from Saragossa5 across the 30 Pyrenees6 by way of Andorra7 the end of July.

1 Curtis Browne was responsible for foreign publishing rights with Liveright (Reynolds 20). 2 Jonathan Cape requested the purchase of In Our Time from Liveright for foreign publication. 3 I.O.T.  In Our Time 4 Chink is the nickname for Eric Edward Dorman-Smith a friend of Hemingway‘s from the war. 5 Sargossa is a city in Spain. 6 Pyrenees is a mountain range that separates France from Spain. 7 Andorra is a city that sits on the edge of Spain and France—near Marseille and Barcelona. 6 | P a g e

Document 2 | April 20th, 1926 2 I‘ve had a bad winter cold. Been being very social and am god damn tired of it. Do you know anything about the girl Don‘s8 marrying? We go to 35 Spain the 12th of May. Hadley‘s playing the piano very well. Where are you on your book? Write to me. Rousseau9 asks about you at the bank. He had us to lunch. We went. Went 5 of the 6 40 days to the bike race. It was swell yet went with Chink and many generals ect to see Sandhurst play Saint []yr. Yr. letter just to hand and Walsh‘s poem on coming in his pants or 45 whatever you want to call it made me vomit again seen on the envelope. But unlike the dog which returns to his vomit I tore up the envelope – just as I tore out the 50 original poem and just as threw away This Quarter10 after tearing out my story to keep it. Haven‘t seen Archie MacLeish11 on acct. his absense in Persia12. Seen Bromfield‘s 55 once. Glad to see you‘re feeling bitter as understand that stimulates literary production.

8 Don Stewart married Beatrice Ames. 9 Pierre Étienne Théodore Rousseau was a French artist of the Barbizon school. 10 ―Hemingway appeared in two of the three issues of This Quarter.. . "Big Two Hearted River" and "Homage to Ezra" appeared in Spring 1925; Hemingway's "The Undefeated" appeared in this second issue; and a later Hemingway story was published in 1931‖ (University of Deleware). 11 Archie MacLeish was one of Hemingway‘s friends from Paris. He was also a poet and playwright who spent time in Sylvia Beache‘s lending library (Reynolds 69). 12 Persia is a remote region where Hemingway went for a League of Nations trip (Reynolds 69). 7 | P a g e

Document 2 | April 20th, 1926 3 glad to hear you see further than 60 Tarkington13. Sorry to hear you see not as for as Hemingway. How far do the French women see? Very glad if you realize criticizsm to be horse shit without 65 horse shits pleasant smell [] use as fertilizer. Have not seen Bookman14. Nevertheless I thank you for services rendered. Haven‘t seen the new fiction except gents prefer which seemed 2nd 70 rate Lardner15 and very dull. Perkins sent Tomason‘s book which seemed very juvenile. I‘d thought it would be much better. There wasn‘t that much hand to hand fighting in 100 years of the Crusades. 75 Have not seen Sherwood Andersen‘s note book16 though I believe I should in order to get a lot of new ideas. Fifty Grand17 is, I believe, in the hands of some agent. I could use the 80 250 I could have gotten by cutting it for Scribners. Am thoroly disgusted with writing but as there

13 Booth Tarkington was an American novelist. Tarkington wrote two Pulitzer Prize-winning novels: The Magnificent Ambersons and Alice Adams. 14 Bookman was an American magazine and of literature and criticism. 15 Ring Lardner was a sports columnists and he also wrote plays and short stories. Ring‘s publisher was also Scribners (The House of Scribner). 16 Sherwood Anderson‘s Notebook was published in 1926. 17 ―Fifty Grand‖ is a short story written by Hemingway. It is part of The Men Without Women collection of short stories written in 1927. 8 | P a g e

Document 2 | April 20th, 1926 4 85 is nothing else I care as much for will continue writing. Paul Nelson would be a good story for you to write if you knew anything about it. 90 I‘m glad as hell you got the money for the movie rights of Gatsby18. With that and Gatsby in person at the Ambassador you sh‘d be able to write a pretty good 95 novel with the franc around 30. Maybe someday you‘ll get the Nobel prize. Understand it‘s not yet been given to an American. Am recommending to Mr. Walsh19 that he give you This Quarter‘s $2000 100 bucks and have just called in my attorney to make you my heir. So Don‘t Worry About Money. Chink says he‘ll leave you Bellamont Forest20 too if you like. 105 Pauline Pfeiffer21 says you can have her job on Vogue22. I‘ve written Scribner to send all my royalty checks to you.

18 Movie rights for The Great Gatsby were sold in two separate deals. Harold Ober sold stage and screen rights for The Great Gatsby, putting a total of $26,000 into Fitzgerald‘s bank account (Curnutt 53). 19 Ernest Walsh was the founder and editor of This Quarter. 20 Bellamont Forest is an estate located in Ireland. It was owned by Hemingway‘s friend E. E. Dorman-Smith ―Chink‖. 21 Pauline Pfeiffer was Hemingway‘s second wife and the reason that he left Hadley. They met because she was friends with the Murphy‘s and a writer for Paris Vogue (Meyers 174-175). 22 Vogue magazine is a women‘s fashion magazine that is printed all over the world. 9 | P a g e

Document 2 | April 20th, 1926 110 5 St makes no difference your telling G. Murphy23 about bull fighting statement except will be careful about making such statements was not 115 referring to guts but to something else. Grace under pressure. Guts never made any money for anybody except violin string manufacturers. Your friend Ring is hampered by 120 lack of intelligence, lack of any aesthetic appreciation, terrible repression and bitterness. Any one of those is a terrible load for any writer to carry no matter how talented. He is 125 , of course, 100 times as intelligent as most U.S. writers. Bumby has the whooping cough. Hadley has had a rotten cough now for over 6 weeks. I expect they give it back and forth to each 130 other. We go to Spain May 12. If Bumby is not well then I‘ll go on ahead and Hadley come later. We go to U.S.A. in End of Sept. Antibes24 135 in August. I‘ll have a copy of Sun etc there and we‘d welcome your advising me on anything about it. Nobody‘s

23 Gerald Murphy was a friend of both Hemingway and Fitzgerald. He was a wealthy American whose literary connections made their mark in American literature (Allen). 24 Antibes is a city near the coast in France. 10 | P a g e

Document 2 | April 20th, 1926 140 6 read any amount of it yet. If you are worried it is not a series of anecdotes – nor is it written very much like either Manhattan Transfer25 in Dark Laughter26. 145 I have tried to follow the outline and spirit of the Great Gatsby but feel I have failed somewhat because of never having been on Long Island27. The hero, like Gatsby, is a Lake Superior Salmon Fisherman. 150 (There are no salmon in Lake Superior) The action all takes place in Newport, R.I. and the heroine is a girl named Sophie Irene Loeb who kills her mother. The scene in which Sophie gives birth to twins in the death house 155 at Sing Sing where she is waiting to be electrocuted for the murder of the father and sister of her, as then, unborn children I got from Dreiser but practically everything else in the book is 160 either my own or yours. I know you‘ll be glad to see it. The Sun Also Rises comes from Sophie‘s statement as she is strapped into the chair as the current mounts. Well why not write? 165 Regards to all yr. family Herbert J. Messkit28.

25 Manhattan Transfer is a novel by John Dos Passos. It was published in 1925. 26 Dark Laughter is a novel by Sherwood Anderson. It was published in 1925 27 Long Island, NY is the setting for The Great Gatsby and home to America‘s elite in the 1920‘s. 28 This letter is signed in jest. Baker attributes the letter to Ernest Hemingway in his collection (Baker 199-201). 11 | P a g e

Document 3 | May 4, 1926

May 4, 1926 Dear Scott – Don‘t you write anymore? How are you 5 going? I have finished a story – short – and am sending it to Scribners tomorrow. We go to Spain a week from Thursday. Maxwell Perkins writes that Torrents will be out at latest May 21st. I sent them The Sun etc. about 10 or 12 days ago. It‘s rained here 10 every day for 3 weeks. I feel low as hell. Haven‘t seen Bromfields, Edith Wharton1, Comrade Bercovinci2 or any other of the little literary colony for some time. Maybe there will be a literary colony in Madrid. 15 Dotty Parker3, Les Seldes4 and Seward Collins5 – you remember, the man who shot Lincoln – all went to Spain and of course hated it. Murphys6 arrived yest. and it isn‘t Dos 20 that‘s marrying. It‘s Don. If I said Dos it was a slip of the ink7. I‘ll pour that ink out. Oh Jesus it is such foul weather and I feel too low to write. I wish to hell you had come up with Murphys – I‘ve not had 25 one man to talk to or bull shit with for months. In Spain of course I can‘t talk at all – am in for 3 mos. of listening and reading the papers.

1 Edith Wharton was a writer, originally from New York, who was born in 1862 and died in 1937. She published more than 40 books and was one of Hemingway‘s friends. She was also working with Scribner‘s and Sons (Edith Wharton Society). 2 Komrad Bercovici was a Romanian writer known for The Story of the Gypsies printed in 1928. He spent time in Paris. 3 Dorothy ―Dotty‖ Parker was a poet and writer and often travelled to Europe. In February 1926 she crossed the Atlantic with Hemingway (Leff 73). 4 Gilbert ―Les‖ Seldes was an American writer and critic. Seldes wrote an unfavorable review of The Sun Also Rises, but wrote favorable reviews for Fitzgerald (Kennedy, Bryer and R. 266). 5 Seward Collins wrote editorial reviews for Bookman. His unfavorable review of A Farewell to Arms called the novel ―disgusting‖ (Jackson 78). 6 Geraldine and Sara Murphy are friends of Hemingway and Fitzgerald. They are frequently referred to as the Murphys. 7 Hemingway is referring to document two in this edition. 12 | P a g e

Document 3 | May 4, 1926 30 2 Write to me. I don‘t ever get letters. How are you feeling? Are you really working on your novel? Is it true that you are swiping my big death house 35 scene? Is it true that you have become blind through alcoholic poisoning and had to have your pancreas removed? I have just given 200,000 francs to save the franc. Harold Stearns8 is 40 giving the same amount. I am thinking of going out, in a few minutes, and getting very cock eyed drunk. Love to yr family, 45 yrs. Ernest (Christ what a name)

8 ―Harold Edmund Stearns was a prolific journalist and editor of the influential ―Civilization‖ in the United States An Inquiry by Thirty Americans (1922), the book that inspired many dissatisfied young Americans to go abroad‖ (Sarason). He was part of the expatriate group that were living in Paris during the 1920‘s. 13 | P a g e

Document 4 | June, 1926

Dear Ernest: Nowdays when almost everyone is a genius at least for awhile, the temptation 5 for the bogus to profit is no greater than the temptation for the good man to relax (in one mysterious way or another) not realizing the transitory quality of his glory because he forgets 10 that it rests on the frail shoulders of professional entheusiasts. This should frighten all of us into a lust for anything honest that people have to say about 15 our work. I‘ve taken what proved to be excellent advice, from Bunny Wilson1 On The B. & Damned2 who never wrote a 20 novel, (on Gatsby— change of many thousand wds) from Max Perkins who never

1 Edmund Wilson was a writer and editor. Edmund‘s nickname was Bunny, but he did not like the name (Edmund Wilson Dies). 2 The Beautiful and the Damned was a novel written by F. Scott Fitzgerald. It was published in 1922 by Charles Scribner‘s Sons. 14 | P a g e

Document 4 | June, 1926

25 2 considered writing one, and from Katherine Tighe3 (you don‘t know her) on T. S. of Paradise4 who had probably never read a novel before. {This is beginning to sound like my own 30 current work which resolves itself into laborious d & sententious preliminaries}. Anyhow I think parts of Sun Also are careless & ineffectual. As I said yestiday (and, as I recollect in trying 35 to get you to cut the 1st part of 50 Grand5) I find in you the same tendency to envelope or (as it usually turns out) To embalm in mere wordiness an anecdote or joke thats casually appealed to you, that I find in myself in trying to preserve a 40 piece of ―fine writing.‖ Your first chapter contains about 10 such things and it gives a feeling of condescending casuallness. P.1. ―highly moral story‖ ―Brett said‖ (O. Henry stuff) 45 ―much too expensive ―something or other‖ (if you don‘t want to tell, why waste 3 wds..saying it. See P. 23- ―9 or 14‖ and ―or how many years it was since 19xx‖ when it would take two words to say 50 That‘s what youd kid in anyone else as mere ―style‖- mere horse-shit I can‘t find this latter but anyhow you‘ve not only got to write well yourself but you‘ve also got to scorn to do what anyone 55

3 Katherine Tighe was Fitzgerald‘s childhood friend. She also gave Fitzgerald editorial advice (Meyers, Scott Fitzgerald A Biography). 4 This Side of Paradise was written by F. Scott Fitzgerald and it was published in 1920 by Scribner‘s. 5 ―Fifty Grand‖ was the story that Fitzgerald used to entice Scribner‘s into taking on Hemingway, but they requested Hemingway cut some of the story. ―Following Fitzgerald‘s guidance, Hemingway deleted about two and a half typewritten pages at the beginning, most of them devoted to establishing the prizefighting ambiance of the story, with conversations in the gym and in a bar near Madison Square Garden. (Kennedy, Bryer and R. 15-17). 15 | P a g e

Document 4 | June, 1926

3 can do and I think that there are about 24 sneers, superiorities, 60 and nose-thumbings – at-nothing that mar the whole narrative up to p. 29 where (after a false start on the introduction of Cohn) it really gets going. And to preserve these perverse and willfull 65 non-essentials you‘ve done a lot of 6 writing that honestly reminded me of Michael Arlen . {You know the very fact that people have committed themselves to you will make them watch you like a cat.} & if they don‘t like it 70 for example. creep away like one Pps. 1&2. Snobbish (not in itself but because the history of English Aristocrats, in the war, set down so verbosely so uncritically, so exteriorly and get so obviously inspired 75 from within, is shopworn:) You had the same problem that I had with my Rich Boy7, previously debauched by Chambers ect. Either bring more that to it with the realization that that ground has already raised 80 its wheat & weeds or cut it down to

6 Michael Arlen was an English writer from the 1920‘s. ―British author whose novels and short stories epitomized the brittle gaiety and underlying cynicism and disillusionment of fashionable post-World War I London society‖ (Michael Arlen). 7 ―The Rich Boy‖ is a short story written by F. Scott Fitzgerald. It was published in Red Book in January and February of 1926 and later published in the collection All the Sad Young Men published by Scribners in February 1926 (Short Stories - Chronological Index of Titles). 16 | P a g e

Document 4 | June, 1926

4 seven sentences. It hasn‘t even your 85 rythym and the fact that may be ―true‖ is utterly immaterial. That biography from you, who always believed in the superiority (the prefer ability) of the imagined to the 90 seen not to say to the merely recounted. P.3. ―Beautifully engraved shares‖ (Beautifully engraved 1886 irony) all this is O.K. but so glib when its glib & so 95 profuse. P. 5 Painters are no longer real in prose. They must be minimized {This is not done by making them sculptors, backhouse wall experts or miniature painters) 100 P.8. ―highly moral urges‖ ―because I believe its a good story.‖ If this paragraph isn‘t maladroit then I‘m a rewrite man for Dr. Cadman8

8 Rev Dr. Samuel Parkes Cadman was a minister and writer. In 1926 when he began writing a daily column for the New York Herald Tribune, syndicated nationwide as ‗Dr. Cadman‘s Daily Column‘ (Samuel Parkes Cadman). 17 | P a g e

Document 4 | June, 1926 105 5 P.9. Somehow its not good. I can‘t quite put my hand on it – it has a ring of ―This is a true story ect.‖ 110 P.10 ―Quarter being a state of mind ect.‖ This is in all guide books. I haven‘t read Basil Swoon‘s9 but I have fifty francs to lose. About this time I can hear you say ―Jesus 115 this guy thinks I‘m lousy, & he can stick it up his ass for all I give a Gd Dm for his ‗critisism‘.‖ But remember this is a new departure for you; and that

120

125 I think your stuff is

9 Basil Woon wrote travel guidebooks and published The Paris That’s Not in The Guidebooks in 1926. 18 | P a g e

Document 4 | June, 1926

6 great. You were the first 130 American I wanted to meet in Europe–and the last. (This latter clause is simply to balance the sentence. It doesn‘t seem to make sense tho I have pawed at it for several minutes. It‘s like the age of French Women. P. 14 (& thereabout) as I said 135 yesterday I think this anecdote is flat as hell without naming Ford which would be cheap. It‘s flat because you end with mention of Allister Crowly10. If he‘s nobody its nothing. If 140 he‘s somebody its cheap. This is a novel. Also I‘d cut out actual mention of H. Stearns earlier. Why not cut the inessentials in Cohns biography? His first marriage is of no importance. When so many people can write well & the competition is 145 so heavy I can‘t imagine how you could have done these first 20 pps so casually. You can‘t play with peoples attention – a good man who has the power of arresting attention at will must be especially careful 150 from here. Or rather from p. 30 I began to like the novel but Ernest

10 Aleister Crowley was an English diabolist. 19 | P a g e

Document 4 | June, 1926

7 155 I can‘t tell you the sense of disappointment that beginning with its elphantine facetiousness gave me. Please do what you can about it in proof. Its 160 7500 words – you could reduce it to 5000. And my advice is not to do it by mere pareing but to take out the worst of the scenes. I‘ve decided not to pick at anything else, because I wasn‘t at all inspired 165 to pick when reading it. I was much too excited. Besides this is probably a heavy dose. The novel‘s damn good. The central theme is marred somewhere but hell! Unless you‘re writing your life history where you have an 170 inevitable pendulum to swing you true (Harding metaphor), who can bring it entirely off? And what critic can trace whether the fault lies in a

20 | P a g e

Document 4 | June, 1926 175 8 possible insufficient thinking out, in the biting off of more than you eventually cared to chew in the impotent theme or in the elusiveness 180 of the lady character herself. My theory always was that she dramatized herself in terms of Arlens dramatization of somebody‘s dramatization 185 of Stephen McKennas11 dramatization of Diana Manner‘s12 dramatization of the last girl in Well‘s13 Tono Bungay14 — who‘s original probably liked more things about Beatrix Esmond15 than about Jane Austin‘s16 190 Elizibeth17 (to whom we owe the manners of so many of our wives.) Appropos of your foreward about the Latin quarter – suppose you had begun your stories with phrases like: ―Spain is a peculiar place – ect‖ or 195 ―Michigan is interesting & to two classes – The Fisherman & The drummer.‖ Pps. 64 & 65 with a bit of work

11 Stephen McKenna was an English novelist who wrote about English upper-class life before and after World War I (Stephen McKenna Papers "Biographical Note"). 12 Lady Diana manners was an English socialite. 13 H.G. Wells a well known English author; he wrote science fiction novels. 14 Tono Bungay is a novel by H.G. wells published in 1908. 15 Beatrix Esmond was a character in the novel The History of Henry Esmond. 16 Jane Austen was a popular English novelist 17 Elizabeth Bennett is a character in Jane Austen‘s Pride and Prejudice, one of her most successful novels. 21 | P a g e

Document 4 | June, 1926 200 9 should tell all that need be known about Brett‘s past. (small point) ―Dysenetry‖ instead of ―killed‖ is a 205 cliché‘s to avoid a cliché. It stands out. I suppose it can‘t be helped. I suppose all the 75,000000 Europeans who died between 1914-1918 will always be among the 10,000,000 who were killed in 210 the war. God! The bottom of p. 77 jusque18 the top p.78 are wonderful. I go crazy when people aren‘t always at their best. This isn‘t picked out – I just happened on it. 215 The heart of my critisism beats somewhere upon p. 87. I think you can‘t change it, though. I felt the lack of some crazy torturing tentativeness or security – horror, all at-once, that she‘d feel – 220 and he‘d feel – maybe I‘m crazy. He isn‘t like

18 Jusque can be translated from French to as far as, to. 22 | P a g e

Document 4 | June, 1926

10 an impotent man. He‘s like a man in a sort of moral chastity 225 belt. Oh, well. It‘s fine, from Chap V on, anyhow, in spite of that – which fact is merely a proof of its brilliance. 230

Station Z.W.2X square says goodnight 235 good night all.

23 | P a g e

Document 5 | August 12, 1926

PAUL R. REYNOLDS1 599 FIFTH AVENUE NEW YORK 5 New York London PAUL R. REYNOLDS JOHN FARQUHARSON2 3 HAROLD OBER 8 HALSEY HOUSE TEL. MURRAY HILL 7461 RED LION SQUARE 10 CABLE CARBONATO NEW YORK LONDON, W. C. I. CABLE JOFACHAD LONDON Aug. 12, 1926. F. Scott Fitzgerald, Esq., Villa St. Louis4, 15 Juan-les-Pins, Alpes Maritimes, France.

Dear Scott Fitzgerald:

20 In one of your recent letters you mentioned Ernest Hemingway. Is he abroad now and do you see him once in a while? The only story we have had of his is entitled FIFTY GRAND which Maxwell Perkins gave me. It is an extremely good and realistic story of a prize- 25 fighter, but I am sorry to say we haven‘t been able to place it. I wish we could see something else of his. He certainly has a lot of ability.

Yours sincerely, 30 Harold Ober

Dear Ernest – Sorry we missed you & Hadley. No news I‘m on the way out working like hell. Expect to sail for N.Y. Dec 10th , from Genoa5 on the Conte 35 Biaucamo. Will be here till then. Saw Bullfight in Frejus6. Bull was eumeuch (sp.). House barred and dark front door chained. Have made no new enemies for a week. Hamilton7 domestic row ended in riot. Have new war book by Pierrefeu8. God is love. Signed Ernestine Murphy 40 Did you read the N.Y. Herald about –―...Henry Carpenter, banker, and Willie Stevens, halfwit, ...‖

1 Paul Reynolds was Hemingway‘s agent. He was reccomended by Max Perkins with Scribner‘s (Leff 77). 2John Farquharson was an English literary Agent who worked for Scribner‘s. 3 Harold Ober was a literary agent who worked for Scribner‘s. 4 Villa St. Louis is where the Fitzgeralds stayed from May or June until the end of 1926. During this time the Hemingway‘s stayed at the house they rented when they arrived Villa Paquita (M. Bruccoli 245). 5 Genoa is a coastal city in Italy. 6 Frejus is a French coastal city 49 km south of Juan-les-Pins. 7 Marice Hamilton was a friend of the Fitzgeralds who stayed with them at Villa St. Louis (M. Bruccoli 298). 8 Jean de Pierrefeu was a French novelist who wrote The Great War. 24 | P a g e

Document 6 | August 17, 1926

CHARLES SCRIBNER‘S SONS PUBLISHERS FIFTH AVENUE AT 48TH STREET 5 NEW YORK Aug. 17, 1926

Dear Scott: 10 I was delighted to get your letter and to see how you felt about the censurable aspects of Hemingway. It is reassuring to me because you yourself, I always thought, were rather strict in this regard, and under- 15 stood how the question was looked upon by the run of people. {over}

25 | P a g e

Document 6 | August 17, 1926 Find (a) a tree (b) a deodorant (c) a fairy concealed in this 20

25 1

Dear Ernest: 30 Yours Truly Walker M. Ellis2 Lt Commanding

Working like hell are you? 35 Over

40

45

50

55

 M. Ernest Hemmingway, V.C. c/o Guaranty Trust Co 1 Rue des Italiens Paris

1 Image was taken from the copy of the original letter. 2 Walker M. Ellis was a member of the Princeton class of 1915, he attended the university while Fitzgerald was there. 26 | P a g e

Document 7 | September 7, 1926

69 Rue Froidevaux1 Paris 14.

5 Dear Old Fitz – Glad to hear again from the Master. How goes the work, Fitz? Glad to hear it. Glad to hear it. Keep it up old boy. I had exactly the same experience myself when I started writing. Then one day I met George Horace Lorimer2 in the Petit 10 Chaumiere3 and from then on things simply slipped along. How the hell are you anyway? I‘ decided to give away all my stories when I got here so as to clear away all the stuff I was counting on selling and that would force me to write some more. So I gave Today Is Friday4 to some pamphlet 15 organization that had written asking for an essay to be published with a drawing by Cocteau5 and sent the Alpine Idyll6 to the New Masses7 which is the most peurile and shitty house organ I‘ve ever seen – they also having re[q]uested a contribution – and just to see what the alibi would be sent The Killers8 – which I‘d 20 just finished to Scribners. So right away back I get a cable from Max Perkins saying Killers grand Bridges9 writing offer Sun proofs received Perkins. So even cynical little boys like Ernest get pleasant surprises. Only now I only wait to hear of the sudden 25 death of Bridges, the losing of his job by Perkins and the suspension of Scribner‘s magazine. Otherwise may get published. Since then have completed a new story, yest. and am starting another one. Thanks a lot for the letter from Reynolds and for your sterling attitude on the censorship 30 question. All France is proud of you. Don‘t listen to any of the subversive element of Juan les Pins, exemplified by the police or other bureaucratic classes, that may try to nullify this.

1 This address was the apartment of Gerald and Sara Murphy. They lent it to Hemingway after his separation from Hadley (Mellow 334) 2 George Horace Lorimer was an editor for The Saturday Evening Post (Mellow 105). 3 La Petit Chaumiere 4 ―Today is Friday‖ is a short story written by Hemingway. It was published by The As Stable Productions in the summer of 1926 (Hanneman 13). 5 Jean Cocteau was a French artist and writer. 6 ―Alpine Idyll‖ is a short story that appears in Hemingway‘s Men Without Women. It was originally published in the anthology American Caravan in September 1927 because it was refused by New Masses (Hanneman 20-21; Baker 218) 7 New Masses is a literary magazine published in New York. It had a political left following. 8 ―The Killers‖ appeared in Scribners Magazine in March 1927 and Men Without Women in October 1927. 9 Robert Bridges was the editor of Scribner’s Magazine. 27 | P a g e

Document 7 | September 7, 1926 35 2

The author of Gatsby le Magnifique will be backed by at least as many people as went to bat for Dreyfuss10. Don‘t let them jail you. Just don‘t let them. The real France is backing you. 40 Hadley and I are still living apart. I am thinking of riding down to Marseilles on my bike in Oct. and living in Marseilles for a month or so and working. Will ride over and see you when you get the book finished. Our life is all gone to hell which seems to be the one thing you can count on a good 45 life to do. Needless to say Hadley has been grand and everything has been completely my fault in every way. That‘s the truth, not a polite gesture. Still having been in hell now since around last Christmas with plenty of insomnia to light the way around so I could study the terrain I get sort of used to it and 50 even fond of it and probably would take pleasure in showing people around. As we make our hell we certainly should like it. I cut The Sun to start with Cohn – cut all that first part. made a number of minor cuts and did quite a lot of re-writing and tightening up. Cut and in the proof it read like a 55 good book. Christ knows I want to write them a hell of a lot better but it seemed to move along and to be pretty sound and solid. I hope to hell you‘ll like it and I think maybe you will. Have a swell hunch for a new novel. I‘m calling it the World‘s Fair. You‘ll like the title. 60 Give my love to Zelda and tell her how sorry we were not to see you when we came around to say goodbye. I haven‘t been drinking, haven‘t been in a bar, haven‘t been at the Dingo11, Dome nor Select12. Haven‘t seen anybody. Not going to see anybody. Trying unusual experiment of a writer writing. That also will 65 probably turn out to be vanity. Starting on long semi-permanent

10 Captain Alfred Dreyfus was involved in a political scandal from 1890‘s and early 1900‘s that divided France (Whyte). 11 The Dingo bar in the rue del Ambre was where Hemingway met Fitzgerald (Leff 18) 12 The Dôme and the Select were Left Bank café‘s in Paris (M. Bruccoli 234). 28 | P a g e

Document 7 | September 7, 1926 3 bike trip to last as long as the good weather lasts as soon as my present piles go down. Then will get a 70 lot of work done, all the stories I want to write, probably working in Marseilles. Then we‘ll see. The world is so full of a number of things I‘m sure we should all be as happy as kings. How happy are kings? Stevenson13. 75 Yrs [a]lways, Ernest

Walsh14, author of the Soldier drugfiend bullbaiter poem is attacking me to the extent of several columns in the next 80 This Quarter charging Hemingway has sold out to the vested interests. I wrote him a postcard saying his poem made me vomit when This Q. came out. Now it seems from a flawless knight of LITERATURE I have become a hack writer in the pay of SCRIBNERS earning these vast sums. I saw a copy of this 85 which he is circulating largely in carbons before publication. Gentlemen I give you the Irish.

90 Write if you feel like it. I get lonesome.

13Hemingway is referring to a quote by Robert Louis Stevenson, a poet, essayist and novelist who wrote lived from 1850-1894. The quote was, "The world is so full of a number of things, I'm sure we should all be as happy as kings." 14 Ernest Walsh was a poet, reviewer, and editorialist. His review of In Our Time was published in This Quarter in 1925 (Ernest Walsh Biography). 29 | P a g e

Document 8 | September, 19261

1 5 We were in a back-house in Juan-les Pins. Bill had lost controll of his sphincter muscles. There were wet Matins in the rack beside the door. There were wet Eclairers de Nice in the rack over his head. When the King of Bulgaria2 came in. Bill was just firing 10 a burst that struck the old limeshit twenty feet down with a splat-tap. All the rest came just like that. The King of Bulgaria began to whirl round and round. ―The great thing in there affairs –― he said. 15 Soon he was whirling faster and faster. Then he was dead. At this point in my letter my 30th birthday came and I got tight for a week in the company of such facinating gents as Mr. 20 Theodore Rousseau & other ornaments of what is now a barren shore. Ernest of little faith I hope the sale of The Killers will teach you to send every story either to Scribners or an agent. Can‘t 25 you get ―Today is Friday‖ back? Your letter depressed and rather baffled me. Have you and Hadley permanently busted up, and

1 There is not documentation that specifically dates this letter. Based on the content of the letter it is after Fitzgerald‘s 30th birthday (September 24th, 1926) and prior to October, 1926 when The Sun Also Rises was published. 2 The King of Bulgaria in 1926 was Andrei Liapchev. 30 | P a g e

Document 8 | September, 1926

30 2 was the necessity of that what was on your soul this summer. Don‘t answer this unless you feel like it. Anyhow I‘m sorry everything‘s such a mess and I do want to see you if you come 35 to Marseille in October. We saw the Murphys before they left, got stewed with them (at their party) – that is we got stewed—and I believe there was some sort of mawkish reconciliation. However they‘ve 40 grown dim to me and I don‘t like them much any more. McLeishes3 too have grown shadowy – he‘s so nice, but she‘s a club woman at heart and made a great lot of trouble in subtle ways this summer. We saw Marice the day she 45 left & the huge Garoupe standing desolate, and her face, and the pathetic bales of chiclets for the Garoupe beach4 in her bedroom are the strongest impression I have left of a futile and petty summer. It might all have 50 happened at Roslynn, Long Island5. Swimmings almost over now. We have our tickets for America Dec. 10th on the Coute Beaucaneo –we‘ll spend the winter in New York. Bishop6 was here with 55 his unspeakably awful wife. He seems

3 Archibald and Ada MacLeish were friends of the Fitzgeralds. Archibald was an American poet. 4 Garoupe is a beach in Antibes Juan les Pins France. 5 Roslyn Village is one of the oldest villages located on the North Shore of Long Island, NY. 6 John Peale Bishop was a poet and writer, and he tutored Fitzgerald in poetry. Their friendship ended after he married Margaret Bishop (M. Bruccoli 48,266). 31 | P a g e

Document 8 | September, 1926

3 aenemic and washed out, a memory of the 60 past so far as I‘m concerned. I‘m glad as hell about the story and I hope its the first of many. I feel too much at loose ends to write any more tonight. Remember – if I can 65 give you any financial help let me know. Always your Friend, Scott

70 I had a lot more to say but its 3:30 A.M. and I‘ve been working since 11 this morning and its very hazy. Have you read The Spanish Farm7 & Sixty four – ninety four8} by Mottram9 wonderful war books. Much better than 75 Ford Maddox Ford10. In fact the best thing I‘ve read this summer.

7 The Spanish Farm is a book written by Ralph Hale Mottram and is the first of a three book series. The book was published in 1924. 8 Sixty-Four, Ninety-Four is the second book of The Spanish Farm series written by Ralph Hale Mottram in 1925. 9 Ralph Hale Mottram wrote the Spanish Farm Trilogy. See page 32 notes 1, 2. 10 Ford Maddox Ford was a Modernist writer who founded the Transatlantic Review; Hemingway was a sub-editor for this publication. He published four novels known as Parade’s End between 1924 and 1928 (Saunders). 32 | P a g e

Document 9 | November 24, 1926

Dear Scott: Ive been trying very hard to get down to see you 5 before you leave – Mike Ward1 was getting a car to drive down but first he was sick – then the cars were always full; then the guy who was to take his place in the bank was sick and that brings us to this Wednesday which was today and the last time we were to start. How are you and how have you been - ? Have you worked and how 10 is the novel. I‘ll bet it will be a damned good novel once you settled down to writing it – and you must have had plenty of time at Juan les Pins for writing lately. I‘ve had a grand spell of working; sold another story to Scribners – making two – and have sent them another that I am sure 15 they will buy – a hell of a good story about Milan during the war – and just finished a better one that I should be typing now. Have two other stories that I know can‘t sell so am not sending them out – but that will go well in a book. This is a bloody borrowed typewriter – my own busted. 20 I see by an ad in the World that The Sun ect. is in 2nd printing and Heywood Broun2 in the same paper Nov. I9 a full col. on it etc. Reviews have been good although the boys seem divided as to who or whom I copied the most from you or Michael Arlen so I am very grateful to both of you – and especially you, Scott, because I like you 25 and I don‘t know Arlen and have besides heard that he is an Armenian and it would seem a little premature to be grateful to any Armenian. But I am certainly grateful to you and I am asking Scribners to insert as a subtitle in everything after the eighth printing THE SUN ALSO RISES (LIKE YOUR COCK IF YOU HAVE ONE) 30 A greater Gatsby (Written with the friendship of F. Scott FitzGerald (Prophet of THE JAZZ AGE)

1 Mike Ward was a friend of Hemingway‘s. 2 Heywood Broun was an editor sports writer and columnist in New York. 33 | P a g e

Document 9 | November 24, 1926

35 2 God I wish I could see you. You are the only guy in or out of Europe I can say as much for (or against) but I certainly would like to see you. I haven‘t enough money to come down on the train and so have been at the mercy of these non leaving free 40 motors. The bad weather has made biking impossible. I started once that way but had a hell of a spill and luxe-ed my epaule. How the hell are you anyway. What does 2nd printing mean in numbers? Book was published Oct. 22 that was in the ad of Nov. I9. Max Perkins 45 wrote the fir[s]t of Nov. that the advance orders hadn‘t been much but that re-orders were coming in. He didn‘t mention any figures. Has he written to you? College Humor3 has written asking me to write them essays, pieces, shit or long fiction and I turned the letter over 50 to Max to give to Reynolds. Sometimes I have funny stuff and I think Reynolds might be willing to sell it as somebody told me College Humour paid large prices. They said they were reviewing Sun Also etc, in January issue. Hope it goes better at Princeton than the Lampoon4. 55 As for personal life of the noted, noted by who, author, Hadley is divorcing me. Have turned over to her all/existing finances and all received and future royalties from Sun. Cape and Heinemann5 have both made offers for British rights. Do you think Reynolds might sell it to the Movies or some such place. I‘m going to take a cut on those if 60 there are any. Have been eating one meal a day and if I get tired enough sleeping – working like hell lately – find starting life poorer than any time since I was I4 with an earning capacity of what stories I sell to Scribners very interesting. I suppose everybody‘s life goes to hell and anyway have been very healthy and, lately, 65 able to use the head again. If anybody in N.Y. asks about me

3 College Humor was a popular magazine from the 1920‘s-1940‘s. 4 Harvard Lampoon a humor magazine. 5 Cape and Heinemann is a British publishing house established in 1890. 34 | P a g e

Document 9 | November 24, 1926

3 don‘t tell them a god damned thing. I would tell you all about 70 things but don‘t seem able to write about them and am not very good at talking about them. Anyway so many people seem to talk so well about one‘s affairs that there doesn‘t seem ever any necessity to speak about them oneself. Anyway I‘m now all through with the general 75 bumping off phase and will only bump off now under certain special circumstances which I don‘t think will arrise. Have refrained from any half turnings on of the gas or slitting of the wrists with sterilized safety razor blades. Am continuing my life in original role of son of a bitch sans peur 80 et sans rapproche6. The only thing in life I‘ve ever had any luck being decent about is money so am very splendid and punctilious about that. Also I have been sucked in by ambition to do some very good work now no matter how everything comes out. I think some of the stuff now is good. Have learned a lot. 85 It is now time to cut this off and mail it. Write to me and tell me all the dirt. What do you hear from N.Y? Where are you going to live? How are Zelda? and Scotty? Bumby and Hadley are damned well. I had Bumby for ten days while Hadley wzs on a trip and one morning 90 I took him to a cafe and got him a glace and a new harmonica and holding the harmonica and eating the glace he said, ―La vie est beau avec papa.‖ He is very fond of me and when I ask him what does papa do, hoping to hear him say Papa is a great writer like the clippings. He says Papa does nothing. So then I taught him to say, ―Bumby will support 95 Papa,‖ so he says that all the time. What will Bumby do? Bumby will support papa en espagne avec les taureaux.7 Love to you all, Ernest

6 ―Sans peur et sans rapproche‖ can be translated as ―without fear and without reproach‖. 7 Bumby will support papa ―en espagne avec les taureaux‖ can be translated as Bumby will support papa ―with the bulls in Spain‖. 35 | P a g e

Document 10 | December, 19261

Dear Ernest:

We leave this house2 Tuesday for Genoa3 & New York. I hope everything‘s getting better for you. If there is anything 5 you need done here or in America – anything about your work, or money, or human help under any head, remember you can always call me.

Your Devoted Friend 10 Scott

1 There is not documentation that specifically dates this letter, but content shows it following the November 24, 1926 letter from Hemingway, and comes before the letter sent on December 23, 1926. 2 Scott and Zelda Fitzgerald lived at Villa St. Louis before heading to Genoa then New York (M. Bruccoli 254). 3 Genoa, Italy is a coastal city 219 km north of Juan les Pins, France. 36 | P a g e

Document 11 | December 23, 1926

ON BOARD THE LLOYD SABAUDO1 5 SS......

S.S. CONTE BIANCAMANO S. S. CONTE VERDE 10 S. S. CONTE ROSSO

Dear Ernest = Your letter depressed me --illogicly because I knew more or less 15 what was coming. I wish I could have seen you & heard you, if you wished, give some sort of version of what happened to you. Anyhow I‘m sorry for you and for Hadley & for Bumby and I hope some 20 way you‘ll all be content and things will not seem so hard and bad. I can‘t tell you how much your friendship has meant to me during this year and a half – it is the brightest 25 thing in our trip to Europe for me. I will try to look out for your interest with Scribner in America, but I gather that the need of that is past now and that soon you‘ll be financially more than on your feet. 30 I‘m sorry you didn‘t come to Marseille. I go back with my novel still unfinished and with less health & not much more money than when I came, but

1 The Lloyd Sabaudo was a fleet Italian passanger ships. They had a route that started in Genoa sailed to Palmero and docked in New York (The Fleets Lloyd Sabaudo). 37 | P a g e

Document 11 | December 23, 1926

35 2 somehow content, for the moment, with []ion and New York ahead and Zelda‘s entire recovery – and happy about the amount 40 of my book that I‘ve already written. I‘m delighted with what press I‘ve already seen of The Sun ect. Did not realize that you had stolen it all from me but am prepared to behave that its true 45 & shall tell everyone. By the way I liked it in print even better than in man- uscript. 1st Printing was probably 5000. 2nd Printing may mean that they‘ve sold 50 4,500 so have ordered up 3000 more. It may mean any sale from 2500 to 5000, tho. College Humor pays fine. No movie in Sun Also unless book is big success of scandal. 55 That‘s just a guess. We all enjoyed ―Le vie est beau avec Papa‖. We agree with Bumby.

Always Yours Affectionately 60 Scott

Write me care of Scribners

65

 M. Ernest Hemingway 70 60 Rue Froideveaux Paris

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Letters Facsimile Section

Facsimile 1 | December 31, 1925

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Facsimile 5 | August 12, 1926

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Facsimile 6 | August 17, 1926

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Facsimile 7 | September, 1926

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Facsimile 11 | December 23, 1926

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Facsimile 11 | December 23, 1926

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Emendation List

Document 1 | December 31, 1925

1:15 | Andersen  misspelled 1:17 | to go through the hell  the hell to go through. 1:25 | my first  my next first 1:28 | fer  mispelled 2:38 | have been approached by  have been approached been approached by 2:41 | from Louis Bromfield  from Louis Bromfield 2:44 | Appropos  misspelled 2:46 | written  written 2:49 | piece  piece overwrites peice 2:49 | thoroly  misspelled 2:54 | Andersen  misspelled 2:55 | fer  misspelled 2:60 | []  illegible 2:61 | an  and 3:72 | Don I can wire to  Don I can wire to 3:74 | opinion of it. I  opinion. of it. I 3:75 | ready in 2-3 months for  ready in 2-3 months for practically 3: 80 | have practically offered to  agreed offered to 4:97 | you I can  you ^ I can 4:110 | from Liveright with the disturbing reports  from the jews anyway Liveright with the disturbing reports 4:112 | []  illegible 4:112 | venture. Has sold ½ business sold Modern Library etc. They  venture. Has sold ½ business sold Modern Library etc. They 4: 117 | brutol  misspelled

Document 2 | April 20th, 1926

6:6 | and a copy 10% for and 3 D. British  and a copy 10% for and 3 D. British 7:37-38 | lunch. We  lunch. Ester Clere is something We 7:42 | []yr.  [illegible] yr. 7:44-45 | or whatever  or whatever 8:64 | criticizm  misspelled 8:65 | []  illegible 8: 66 | fertilizer. Have not seen Bookman. Nevertheless  fertilizer. gluto prefer Have not seen Bookman. Nevertheless 8: 81 | thoroly  misspelled 9: 106 | Vogue. I‘ve Vogue. and she I‘ve 10: 110-111 | your  your letting telling

10: 114 | statements was  statements x was 10: 137 | anything about  anything that about 11:144 | Manhattan Transfer  Manhattan gal Transfer 11:147 | somewhat because  somewhat or because

Document 3 | May 4, 1926

12:28 | papers.  papers. [the following line is a scribble]

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Document 4 | June, 1926

14:3 | Nowdays  misspelled 14:5 | temptation for  temptation both for 14:7 | another) not  another) , and the latter [ ] way (sp.) content for with his meager glory and not 14:8 | realizing the  realizing its the 14:9 | quality of his glory because  quality of his glory because 14:3 | Nowdays  misspelled 14:4-5 | temptation for  temptation both for 14:7 | another) not  another) , and the latter [ ] way (sp.) content for with his meager glory and not 14:8 | realizing the  realizing its the 14:9 | quality of his glory because  quality of his glory because 14:11-12 | of professional enthusiast. This  of men for he whom he has no respect professional enthusiast (if I can ever end this Johnsonian sentence I‘ll go on) (not a period). ; :‖ . the latter (see line 5) exengency or the possibility of the latter This 14:11 | entheusiasts  misspelled 14:13 | into a into an a 14:15 | work. I‘ve  work. This is all to disarm you, naturally. When I say that I‘ve 14:18-19 | Wilson On  Wilson on On 14:20 | novel,  novel, Max Perkins (on 14:21 | wds) from Max Perkins who  wds) from Max Perkins who 15:28 | read a novel before  read one a novel before 15:26 | and from Katherine  and ^ from Katherine 15:28 | read a novel before  read one a novel before 15:33 | are careless  are sloppy careless 15:34 | yestiday  misspelled 15:37 | embalm in mere wordiness an  embalm in mere wordiness an 15:39 | I find in myself in  I have find in myself in 15:39 | in trying to preserve a  in so ^trying to preserveing a 15:41 | and it gives a feeling of condescending  and its ^it gives a feeling of condescending 15:42 | casuallness. P.1.  casuallness.1 leads you into stuff that – oh, well P.1. 15:48 | years it  years since it 15:49 | 19xx‖ when it would take two words to say That‘s what youd [] in anyone else as mere ―style‖- mere horse-shit I  19xx‖ ^when it would take two words to [written in a box on the right side of the letter] That‘s what youd kid in anyone else as mere ―style‖—mere horse –shit I 15:50 | youd  misspelled 15:54| to scorn to  to not - do what bad cheap people scorn to 16:59 | 24 sneers  24 cheap jokes, sneers 16:64 | and willfull  and [] willfull 16:65 | non-essentials you‘ve  non-essentials wh you‘ve 16:65-66 | of writing  of mere writing 16:66 | writing that honestly  writing that honestly 16:74 | uncritically, so exteriorly  uncritically, so exteriorly 16:72-73 | Aristocrats, in  Aristocrats, so in 16:74 | exteriorly  exteriorly overwrites exteriolly 16:74 | and get so  and ^get so 16:74 | so obviously inspired  so obviously inspired 16:74 | inspired from  inspired by from 16:75 | shopworn:) You  shopworn:) an You 16:80 | its wheat  its crops wheat 17:85 | rythym. It‘s bad Arlen and  rythym and 17:86 | that may be ―true‖  that its true ^ may be ―true‖ 17:86-87 | inmaterial. That  inmaterial. I‘m not talking about her but about your books. That 17:86-87 | inmaterial. That  inmaterial. My God! That

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17:93 | engraved 1886  engraved 1886 17:96 | backhouse wall experts or  backhouse wall experts or 17:99 | miniature painters) P.8.  miniature painters) P.8. 17:102 | I‘m a rewrite  I‘m the a rewrite 17:103 | for [most of this line is a scribble nothing replaced it] Dr. Cadman  for Dr. Cadman 18:118 | you; and that  you; and that 18:119 | and that I  and that I [most of this line is scribbled out] let 18:120-125 | and that I  let [these words are separated by lines of scribbles] Frank I 19:131 | Europe -- and  Europe ^-- and 19:132 | make sense tho I have pawed at it for several minutes. It‘s like the age of French Women. P. 14  make sense tho I have pawed at it for several minutes. It‘s like the age of French Women. P. 14 [written in the top right margin of the page] 19:137; 140 | novel. Also I‘d cut out actual mention of H. Stearns earlier. Why  cheap. Also I‘d cut out actual mention of H. Stearns earlier. It‘s [line was moved by author] 19:142 | marriage is  marriage is 19:143 | importance. When  importance. My God. When 19:144 | the competition is  the competition is 19:147 | so casually. You  so carelessly casually. You 19:149 | will must  will must 20:155 | the sense  the leaden sense 20:157-158 | facetiousness gave  facetiousness & smart ass gave 20:159 | about it in  about ^it in 20:161 | and my advice is not to do  and don‘t my advice is not to do 20:161 | by mere pareing  by ^ mere parening 20:161 | pareing but to take  pareing ^ but to take 20:164 | wasn‘t at all inspired  wasn‘t at all inspired 20:165 | to pick when  to pick when 20:165 | it. I as much too excited. Besides this  it. I was much too excited. Besides this 20:166 | dose. The novel‘s damn  dose. Its The novel‘s damn 20:168 | history where  history where 20:172 | off? And  off? And 20:172 | what critic can  what can critic can 20:173 | in a  in the a 21:187 | Bungay—1who‘s  Bungay^— who‘s 21:187-188 | who‘s original probably  who‘s ^original probably 21:188 | probably liked more  probably felt liked more 21:188 | more things about Beatrix more stuff in things about Beatrix 21:189 | than about Jane  than about Jane 21:189 | Austin‘s  misspelled 21:190 | Elizibeth  misspelled 21:190 | we owe manners  we ^owe know the unconditionally gothic manners 21:192 | foreward  misspelled 21:192 | your foreward about  your ^ forward about 21:193 | you had begun  you had begun 21:194 | your stories  your Spanish stories 21:194 | stories with phrases like: ―Spain  stories with phrases like: ―Spain 21:195 | is interesting to  is interesting to 21:196 | drummer.‖ Pps.  drummer.‖ What this? Perhaps you could have sold them to The Post Pps. 21:197-198 | work  work God! 22:204 | dysenetry • misspelled 22:204 | is a  is one of a 22:204-205 | a cliché‘s  a the cliché‘s

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22:205 | a cliché‘s  a the cliché‘s 22:205 | avoid a cliché  avoid ^a cliché 22:206 | suppose  suppose overwrites Suppose 22:207 | suppose  suppose overwrites Suppose 22:207 | the 75, 000,000 Europeans  the ^ 75,000 000 Europreans 22:209 | always be among the 10,000,000 who were killed  always have been be among the 10,000,000 who were killed 22:211 | God! The bottom  God! ^The bottom 22:211 | p.77 jusque the Top  p. 77 jusque the Top 22:215 | critisism  misspelled 22:215 | critisim beats somewhere  critisim is ^beats somewhere 23:224-225 | moral chastity belt.  moral chastity moral chastity belt. 23:225 | belt  piece belt 23:226-227 | from Chap  from the first Chap 23:227-228 | which fact is  which which ^ fact is 23:230-233 | [four lines of scribbling] 

Document 5 | August 12, 1926

24:24 | his is entitled • his ^is entitled 24: 34-41| Dear Ernest – Sorry we missed you & Hadley. No news I‘m on the way out working like hell. Expect to sail for N.Y. Dec 10th , our Genoa on the Conte Biaucamo. Will be here till then. Saw Bullfight in Frejus. Bull was eumeuch (sp.). House barred and dark front door chained. Have made no new enemies for a week. Hamilton domestic row ended in riot. Have new war book by Pierre Jen. God is love. Signed Ernestine Murphy [This section was added in by Fitzgerald and is handwritten.] 24:43-44 | Did you read the N.Y. Herald about –―...Henry Carpenter, banker, and Willie Stevens, halfwit, ...‖ [This section was added in by Fitzgerald and is handwritten in the left margin.]

Document 6 | August 17, 1926

26:20-30 | Picture added to show added characters 26:20-24 | [picture inserted] • in arranging for the anthology now on good terms, but that I think the anthology would be much better after the appearance of this new novel in England.

Document 7 | September 7, 1926

27:12 | got here so  got there so 27:18 | re[q]uested  re uested 28:38 | for Dreyfuss  for Xxxxx Dreyfuss 28:40 | am thinking  am xxxxx thinking 29:68 | bike  xxxxxxxxxxxxxxxxxx bike 29:75 | always  [a]lways 29:91 | Write if you feel like it. I get lonesome.  Write if you feel like it. I get lonesome. [upside down]

Document 8 | September, 1926

30:6 | controll • misspelled 30:19 | facsinating • misspelled 31:41 | McLeishes too  McLeishes too 32:70 | 3:30 A.M. and  3:30 ^A.M. and

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Document 9 | November 24, 1926

33:4 | Ive  misspelled 34:39 | the mercy  the xxxxxxx mercy 34:45 | fir[s]t  firt 34:55 | noted by  notedby 34:56 | all/existing finances  all/ existing finances 34:57 | future royalties  future xxxxxxx royalties 34:65 | anybody in  anybodyx in 35:73 | seem ever  seem x ever 35:76 | I don‘t  I xxxxxxxxx don‘t 35:76 | arrise  misspelled 35:84 | lot. It  lot. XXXXXX XXXXXXXXXXXXXXXXXXXXXXXXX It 35:85 | off  xxxxxxxxoff 35:87 | N.Y? Where  N.Y? xxxxx Where

Document 10 | December, 1926

No Emendations

Document 11 | December 23, 1926

37:13-14 | me–illogicly • me with -- illogicly 37:14 | illogicly • misspelled 38:37 | []ion • [illegible]ion 38:51 | any sale from • any sail sale from 38:54 | unless book is big • unless ˄book is big 38:69 | c/o Guaranty Trust Co. 1 Rue des Italiens Paris

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Index

"Alpine Idyll", 27 Harcourt, Alfred, 2 "Fifty Grand", 8, 15, 24 Harvard Lampoon, 34 "The Killers", 27, 30 Held, John, 4 "Today Is Friday", 27, 30 Hemingway, Hadley Richardson, 4, 6, 7, 10, Anderson, Sherwood, 1, 2, 8, 11 24, 28, 30, 34, 35, 37, 81 In Our Time, 2, 5, 6 Arlen, Michael, 16, 33 Juan-les-Pins, 24, 27, 30, 33, 36 Austen, Jane, 21 Lardner, Ring, 8, 10 Barton, Ralph, 4 Bercovinci, Komrad, 12 Liveright (Boni and Liveright Publishing), 1, 2, 3, 4, 5, 6, 78 Bishop, John Peale, 31 Liveright, Horace, 1 Bridges, Robert, 27 Lorimer, George Horace, 27 Bromfield, Louis, 2, 3, 4, 7, 12 MacLeish, Archibald and Ada, 7, 31 Broun, Heywood, 33 MacLeish, Archibald, 7 Browne, Curtis, 6 Manhattan Transfer, 11, 78 Bumby; Nicanor, John Hadley, 4, 5, 6, 10, Mann, Horace, 27 35, 36, 37, 38 Manner‘s, Diana, 21 Cadman, Rev. Dr. Samuel Parkes, 17 McKennas, Stephen, 21 Cape and Heinemann, 34 Messkit, Herbert J., 11 Cape, Jonathan, 6 Mottram, Ralph Hale, 32 Cocteau, Jean, 27 Murphy, Gerald and Sara, 9, 12, 27, 31 College Humor, 34, 38 Murphy, Gerald, 10 Collins, Seward, 12 New Masses, 27 Collins, Seward, 12 Ober, Harold, 9, 24 Covarrubias, Miguel, 4 Outline of History, 4 Crowly, Allister, 19 Parker, Dorothy "Dotty", 12 Dark Laughter, 11 Parker, Dotty, 12 Dorman-Smith, Eric Edward "Chink", 6, 7, 9 Perkins, Max, 2, 3, 4, 8, 12, 14, 24, 27, 34, Dreyfus, Captain Alfred, 28 79 Pfeiffer, Pauline, 9 Ellis, Walker M., 26 Reynolds, Paul R., 24, 27, 34 Esmond, Beatrix, 21 Rousseau, Pierre Étienne "Theodore", 7, 30 Farquharson, John, 24 Scribners (Charles Scribner's Sons),3, 4, 6, 8, Fitzgerald, Scotty, 35 9, 12, 25, 27, 29, 30, 33, 34, 37 Fitzgerald, Zelda, 4, 28, 35, 38 Seldes, Gilbert "Les", 12 Fleishman, Leon, 4 Seldes, Les, 12 Ford, Ford Maddox, 19, 32 Sixty Four – Ninety Four, 32 Hamilton, Marice, 24, 31 Stearns, Harold, 13, 19 Harcourt Publishing, 2, 3 Stevenson, Robert Louis, 29 Stewart, Don, 3, 4, 7, 9, 12

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Index

Tarkington, Booth, 8 Tono Bungay, 21 The Beautiful and the Damned, 14 Torrents of Spring, 1, 2, 4, 5 The Bookman, 8 Villa St. Louis, 24, 37 The Great Gatsby, 9, 11, 14, 28, 33 Walsh, Ernest, 7, 9, 29 The Spanish Farm, 32 Ward, Mark, 33 The Sun Also Rises, 1, 3, 6, 10, 11, 12, 15, Wells, H.G., 21 17, 27, 28, 29, 33, 34, 35, 38 Wharton, Edith, 12 This Quarter, 7, 9, 29 Wilson, Edmund "Bunny", 14 This Side of Paradise, 15 Woon, Basil, 18 Tighe, Katherine, 15, 79

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Works Cited

"About Knopf Doubleday Publishing Group." 2011. Knopf Doubleday. 08 December 2011

.

Allen, Brooke. "What A Swell Party It Was." 24 May 1998. The New York Times on the Web. 6

December 2011

.

Anderson, Frederick, Michael B. Frank and Kenneth M. Sanderson. Mark Twain‘s Notebooks &

Journals, Volume 1 (1855–1873). Berkeley, Los Angeles: University of California Press,

1975.

Baker, Carlos. Ernest Hemingway Selected Letters 1917-1961. New York: Charles Scribner's

Sons, 1981.

Branch, Edgar Marquess, Michael B. Frank and Kenneth M. Sanderson. Mark Twain's Letters

1853-1866. Berkely and Los Angeles: University of California Press, 1987.

Bruccoli, Matthew J. The Only Thing That Counts. New York: Scribner, 1996.

Bruccoli, Matthew. Some Sort of Epic Granduer: The Life of F. Scott Fitzgerald. Columbia, SC:

University of South Carolina Press, 2002.

Curnutt, Kirk. A Historical Guide to F. Scott Fitzgerald. New York: Oxford University Press,

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