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The Last Tycoon
Francis Scott Key Fitzgerald
HarperCollins is proud to present its new range of best-loved, essential classics.‘They were smiling at each other as if this was the beginning of the world.’The lights of Hollywood do little to distract Cecelia as she watches Monroe Stahr, wunderkind studio executive and object of her desire, descend into a reckless and ardent love affair with an auspicious starlet – an affair that threatens to destroy his reign as the Silver Screen’s golden boy. In this tragic tale Fitzgerald exposes the corruption, sex and towering ambition at the dark heart of 1930s Hollywood.Unfinished at the time of his death, F. Scott Fitzgerald bids his own poignant farewell to the themes that inspired ‘The Great Gatsby’, ‘Tender is the Night’ and ‘The Beautiful and Damned’.
THE LAST TYCOON
F. Scott Fitzgerald
History of Collins (#ulink_458530ef-4355-541b-90b3-0e4c305f3ca8)
In 1819, millworker William Collins from Glasgow, Scotland, set up a company for printing and publishing pamphlets, sermons, hymn books, and prayer books. That company was Collins and was to mark the birth of HarperCollins Publishers as we know it today. The long tradition of Collins dictionary publishing can be traced back to the first dictionary William published in 1824, Greek and English Lexicon. Indeed, from 1840 onwards, he began to produce illustrated dictionaries and even obtained a licence to print and publish the Bible.
Soon after, William published the first Collins novel, Ready Reckoner; however, it was the time of the Long Depression, where harvests were poor, prices were high, potato crops had failed, and violence was erupting in Europe. As a result, many factories across the country were forced to close down and William chose to retire in 1846, partly due to the hardships he was facing.
Aged 30, William’s son, William II, took over the business. A keen humanitarian with a warm heart and a generous spirit, William II was truly “Victorian” in his outlook. He introduced new, up-to-date steam presses and published affordable editions of Shakespeare’s works and ThePilgrim’s Progress, making them available to the masses for the first time. A new demand for educational books meant that success came with the publication of travel books, scientific books, encyclopedias, and dictionaries. This demand to be educated led to the later publication of atlases, and Collins also held the monopoly on scripture writing at the time.
In the 1860s Collins began to expand and diversify and the idea of “books for the millions” was developed. Affordable editions of classical literature were published, and in 1903 Collins introduced 10 titles in their Collins Handy Illustrated Pocket Novels. These proved so popular that a few years later this had increased to an output of 50 volumes, selling nearly half a million in their year of publication. In the same year, The Everyman’s Library was also instituted, with the idea of publishing an affordable library of the most important classical works, biographies, religious and philosophical treatments, plays, poems, travel, and adventure. This series eclipsed all competition at the time, and the introduction of paperback books in the 1950s helped to open that market and marked a high point in the industry.
HarperCollins is and has always been a champion of the classics, and the current Collins Classics series follows in this tradition – publishing classical literature that is affordable and available to all. Beautifully packaged, highly collectible, and intended to be reread and enjoyed at every opportunity.
Life & Times (#ulink_dbf16621-c6e3-5d07-8f08-fc359c047ddd)
The Last Tycoon
When F. Scott Fitzgerald died in 1940, The Love of the Last Tycoon remained unfinished and unpublished. The novel – renamed The Last Tycoon on publication – was published posthumously in 1941 after it had been completed and edited from the unfinished manuscript by a friend of Scott Fitzgerald, Edmund Wilson.
The novel falls into a genre known as roman à clef, a French phrase which literally means ‘novel to key’. The phrase is applied to novels that are essentially true stories based on real people and situations, but thinly veiled as fiction. The plot of The Last Tycoon is largely based on an observation of the power-play between a Hollywood film producer and a studio boss, and is interwoven with other aspects of life and love.
In terms of literary style, the book contains a blend of first- and third-person narratives. Some scenes are recounted twice, once from each perspective, to emphasize the point that memory is subjective, and so one person’s recollection of an event or conversation, a person or place, will naturally differ from another’s. The repetition of the story-telling therefore highlights this discrepancy in the recollection and retelling of the same memory. By using this style, Scott Fitzgerald demonstrates his understanding of human behaviour and interaction, a feature of his writing that made him one of the great novelists of the twentieth century.
Debate often rages over whether or not unfinished novels should be completed and published after the death of the author; since no one can ever know the author’s true intentions, the artistic integrity of their work is potentially at risk. Over the years, The Last Tycoon has been successfully adapted for television, stage and film, demonstrating that much of the novel’s appeal is based on its plot – an aspect of the novel that F. Scott Fitzgerald himself created.
Earlier Works
Fitzgerald wrote a number of short stories, which were packed in a single volume entitled Tales of the Jazz Age (1922). The best-known of these shorts is The Curious Case of Benjamin Button, in which the eponymous central character ages in reverse. He is born old and decrepit and then goes through all of the other stages of life until he eventually dies as a newborn baby. What makes the tale most interesting is the juxtaposition between Benjamin and the people with whom he has relationships, because his life is being carried out in the opposite direction to theirs.
A similar device is used in Martin Amis’ Time’s Arrow (1991), except that the whole world is played backward, so that curious concepts are explored, such as doctors causing injuries, instead of healing them. Also, the reader eventually realizes that the central character is an erstwhile Holocaust doctor when his reverse life takes him to a younger age. Of course, this concept of playing with time was first investigated by H. G. Wells in his novel The Time Machine (1895). In this story Wells has the central character existing in real time, but the machine enables him to travel both forward and backward in time.
There are ten other shorts in Tales of the Jazz Age. Some examine the human characteristics that made the Jazz Age what it was, such as the excess, frivolity, vanity, pretensions, and cultural hysteria brought about by the mood following World War I.
Just as the Restoration in England generated a kind of lighthearted optimism after the suppressive atmosphere under the Puritans, so the Jazz Age was a kind of celebration of life after so much death in Europe. It was marked by the popularity of jazz music and an associated dance craze, but would all come to an end in the early 1930s with the Great Depression.
Exploring the topic of excess in this collection is the tale A Diamond as Big as the Ritz. In this story, Fitzgerald gives the central character a dilemma to solve. In his quest to become rich, Percy Washington discovers a mountain comprising a single diamond, but he realizes that if he saturates the market with diamonds, they will become commonplace and have no value. Both stories highlight Fitzgerald’s underlying inclination to experiment with intellectual and philosophical concepts in his work. This is largely why he is regarded as a literary writer, rather than merely a teller of tales.
On face value, much of his writing would seem to be amusing comment on his own “Smart Set” lifestyle and aimed at others from the same milieu, but Fitzgerald was an intelligent man with considerable depth to his thinking. It is just that he also knew how to be commercial enough to make money from his writing, which demanded a layer of gloss and polish. His was a world of inherited privilege, inhabited by pseudo-intellectuals and posers. He himself made several trips to Paris and the French Riviera, where he cultivated and honed a lifestyle that went hand in hand with his writing style. He wrote about what he knew, but he injected other elements to facilitate his curiosity about the human condition and give his writing greater literary weight.
Fitzgerald and Hemingway
Fitzgerald was friends with arguably the greatest American writer, Ernest Hemingway. Hemingway encouraged Fitzgerald to pursue his prose with artistic integrity, but grew frustrated with Fitzgerald’s tendency toward making his literature commercial. However, most of Fitzgerald’s novels did not perform that well, so a large part of his income came from magazine work, writing short stories that, by their very nature, had to conform to editorial requirements. Nine years after The Great Gatsby, he had struggled to complete his final novel Tender Is The Night. Unfortunately for Fitzgerald, the book was received with disappointment, and the decline of his writing career continued unabated. In the latter half of the 1930s, he found work developing movie scripts and carried out further commercial writing. By the time of his death, his literary career had died, too.
In hindsight, Fitzgerald’s work is regarded variously, but The Great Gatsby has become the quintessential American classic. Some feel that Fitzgerald’s talent would have been better focused on his novel writing, but fiscal matters always dictated that he continue with his commercial work. However, Hemingway may have been a heavyweight writer but he was certainly not a contented man. For him the praise he garnered for each new book was a fix. When he ran out of ideas, he suffered severe depression and ultimately took his own life with a shotgun. Fitzgerald battled on in a workmanlike manner even when plaudits were a distant memory. Fitzgerald the legendary writer has now outlived Fitzgerald the man several times over.
CONTENTS
Cover (#ucbe82788-9aae-55d8-8d5f-7d737c0f3f26)
Title Page (#u307b475e-ddd1-5ccb-993e-21c3f5debc9b)
History of Collins (#u21884347-7983-50c3-a9b6-91adfa5a9a2d)
Life & Times (#u58201ee5-d4e5-5954-8a2a-96ed35f1f417)
Chapter 1 (#ued528c3e-0bf9-5a2f-8a4c-19e3a52087e3)
Chapter 2 (#u0c6ef433-b806-523d-a376-9fb5bf610c9e)
Chapter 3 (#u32d18aba-1aef-5542-93fd-ef842aa67131)
Chapter 4 (#litres_trial_promo)
Chapter 5 (#litres_trial_promo)
Chapter 6 (#litres_trial_promo)
Classic Literature: Words and Phrases (#litres_trial_promo)
Copyright (#litres_trial_promo)
About the Publisher (#litres_trial_promo)
CHAPTER 1 (#ulink_02675587-4494-5061-b188-ee815b82d7b8)
Though I haven’t ever been on the screen I was brought up in pictures. Rudolph Valentino came to my fifth birthday party—or so I was told. I put this down only to indicate that even before the age of reason I was in a position to watch the wheels go round.
I was going to write my memoirs once, The Producer’s Daughter, but at eighteen you never quite get around to anything like that. It’s just as well—it would have been as flat as an old column of Lolly Parsons’. My father was in the picture business as another man might be in cotton or steel, and I took it tranquilly. At the worst I accepted Hollywood with the resignation of a ghost assigned to a haunted house. I knew what you were supposed to think about it but I was obstinately unhorrified.
This is easy to say, but harder to make people understand. When I was at Bennington some of the English teachers who pretended an indifference to Hollywood or its products, really hated it. Hated it way down deep as a threat to their existence. Even before that, when I was in a convent, a sweet little nun asked me to get her a script of a screen play so she could “teach her class about movie writing” as she had taught them about the essay and the short story. I got the script for her, and I suppose she puzzled over it and puzzled over it, but it was never mentioned in class, and she gave it back to me with an air of offended surprise and not a single comment. That’s what I half expect to happen to this story.
You can take Hollywood for granted like I did, or you can dismiss it with the contempt we reserve for what we don’t understand. It can be understood too, but only dimly and in flashes. Not half a dozen men have ever been able to keep the whole equation of pictures in their heads. And perhaps the closest a woman can come to the set-up is to try and understand one of those men.
The world from an airplane I knew. Father always had us travel back and forth that way from school and college. After my sister died when I was a junior, I travelled to and fro alone, and the journey always made me think of her, made me somewhat solemn and subdued. Sometimes there were picture people I knew on board the plane, and occasionally there was an attractive college boy—but not often during the depression. I seldom really fell asleep during the trip, what with thoughts of Eleanor and the sense of that sharp rip between coast and coast—at least not till we had left those lonely little airports in Tennessee.
This trip was so rough that the passengers divided early into those who turned in right away and those who didn’t want to turn in at all. There were two of these latter right across from me, and I was pretty sure from their fragmentary conversation that they were from Hollywood—one of them because he looked like it: a middle-aged Jew, who alternately talked with nervous excitement or else crouched as if ready to spring, in a harrowing silence; the other a pale, plain, stocky man of thirty, whom I was sure I had seen before. He had been to the house or something. But it might have been when I was a little girl, and so I wasn’t offended that he didn’t recognize me.
The stewardess—she was tall, handsome and flashing dark, a type that they seemed to run to—asked me if she could make up my berth.
“—and, dear, do you want an aspirin?” She perched on the side of the seat and rocked precariously to and fro with the June hurricane. “—or nembutal?”
“No.”
“I’ve been so busy with everyone else that I’ve had no time to ask you.” She sat down beside me and buckled us both in. “Do you want some gum?”
This reminded me to get rid of the piece that had been boring me for hours. I wrapped it in a piece of magazine and put it into the automatic ash-holder.
“I can always tell people are nice,” the stewardess said approvingly, “if they wrap their gum in paper before they put it in there.”
We sat for awhile in the half-light of the swaying car. It was vaguely like a swanky restaurant at that twilight time between meals. We were all lingering—and not quite on purpose. Even the stewardess, I think, had to keep reminding herself why she was there.
She and I talked about a young actress I knew, whom she had flown West with two years before. It was in the very lowest time of the depression, and the young actress kept staring out the window in such an intent way that the stewardess was afraid she was contemplating a leap. It appeared though that she was not afraid of poverty, but only of revolution.
“I know what mother and I are going to do,” she confided to the stewardess. “We’re coming out to the Yellowstone and we’re just going to live simply till it all blows over. Then we’ll come back. They don’t kill artists—you know?”
The proposition pleased me. It conjured up a pretty picture of the actress and her mother being fed by kind Tory bears who brought them honey, and by gentle fawns who fetched extra milk from the does and then lingered near to make pillows for their heads at night. In turn I told the stewardess about the lawyer and the director who told their plans to Father one night in those brave days. If the bonus army conquered Washington, the lawyer had a boat hidden in the Sacramento River, and he was going to row upstream for a few months and then come back “because they always needed lawyers after a revolution to straighten out the legal side.”
The director had tended more toward defeatism. He had an old suit, shirt and shoes in waiting—he never did say whether they were his own or whether he got them from the prop department—and he was going to Disappear into the Crowd. I remember Father saying: “But they’ll look at your hands! They’ll know you haven’t done manual work for years. And they’ll ask for your union card.” And I remember how the director’s face fell, and how gloomy he was while he ate his dessert, and how funny and puny they sounded to me.
“Is your father an actor, Miss Brady?” asked the stewardess. “I’ve certainly heard the name.”
At the name Brady, both the men across the aisle looked up. Sidewise—that Hollywood look, that always seems thrown over one shoulder. Then the young, pale, stocky man unbuttoned his safety strap and stood in the aisle beside us.
“Are you Cecilia Brady?” he demanded accusingly, as if I’d been holding out on him. “I thought I recognized you. I’m Wylie White.”
He could have omitted this—for at the same moment a new voice said, “Watch your step, Wylie!,” and another man brushed by him in the aisle and went forward in the direction of the cockpit. Wylie White started, and a little too late called after him defiantly:
“I only take orders from the pilot.”
I recognized the kind of pleasantry that goes on between the powers in Hollywood and their satellites.
The stewardess reproved him:
“Not so loud, please—some of the passengers are asleep.”
I saw now that the other man across the aisle, the middle-aged Jew, was on his feet also, staring with shameless economic lechery, after the man who had just gone by. Or rather at the back of the man, who gestured sideways with his hand in a sort of farewell, as he went out of my sight.
I asked the stewardess: “Is he the assistant pilot?”
She was unbuckling our belt, about to abandon me to Wylie White.
“No. That’s Mr. Smith. He has the private compartment, the ‘bridal suite’—only he has it alone. The assistant pilot is always in uniform.” She stood up: “I want to find out if we’re going to be grounded in Nashville.”
Wylie White was aghast.
“Why?”
“It’s a storm coming up in the Mississippi Valley.”
“Does that mean we’ll have to stay here all night?”
“If this keeps up!”
A sudden dip indicated that it would. It tipped Wylie White into the seat opposite me, shunted the stewardess precipitately down in the direction of the cockpit, and plunked the Jewish man into a sitting position. After the studied, unruffled exclamations of distaste that befitted the air-minded, we settled down. There was an introduction.
“Miss Brady—Mr. Schwartz,” said Wylie White. “He’s a great friend of your father’s, too.”
Mr. Schwartz nodded so vehemently that I could almost hear him saying: “It’s true. As God is my judge, it’s true!”
He might have said this right out loud at one time in his life—but he was obviously a man to whom something had happened. Meeting him was like encountering a friend who has been in a fist fight or collision, and got flattened. You stare at your friend and say: “What happened to you?” And he answers something unintelligible through broken teeth and swollen lips. He can’t even tell you about it.
Mr. Schwartz was physically unmarked; the exaggerated Persian nose and oblique eye shadow were as congenital as the tip-tilted Irish redness around my father’s nostrils.
“Nashville!” cried Wylie White. “That means we go to an hotel. We don’t get to the coast till tomorrow night—if then. My God! I was born in Nashville.”
“I should think you’d like to see it again.”
“Never—I’ve kept away for fifteen years. I hope I’ll never see it again.”
But he would—for the plane was unmistakably going down, down, down, like Alice in the rabbit hole. Cupping my hand against the window I saw the blur of the city far away on the left. The green sign “Fasten your belts—No smoking” had been on since we first rode into the storm.
“Did you hear what he said?” said Schwartz from one of his fiery silences across the aisle.
“Hear what?” asked Wylie.
“Hear what he’s calling himself,” said Schwartz. “Mr. Smith!”
“Why not?” asked Wylie.
“Oh, nothing,” said Schwartz quickly. “I just thought it was funny. Smith.” I never heard a laugh with less mirth in it: “Smith!”
I suppose there has been nothing like the airports since the days of the stage-stops—nothing quite as lonely, as somber-silent. The old red-brick depots were built right into the towns they marked—people didn’t get off at those isolated stations unless they lived there. But airports lead you way back in history like oases, like the stops on the great trade routes. The sight of air travellers strolling in ones and twos into midnight airports will draw a small crowd any night up to two. The young people look at the planes, the older ones look at the passengers with a watchful incredulity. In the big trans-continental planes we were the coastal rich, who casually alighted from our cloud in mid-America. High adventure might be among us, disguised as a movie star. But mostly it wasn’t. And I always wished fervently that we looked more interesting than we did—just as I often have at premières, when the fans look at you with scornful reproach because you’re not a star.
On the ground Wylie and I were suddenly friends because he held out his arm to steady me when I got out of the plane. From then on, he made a dead set for me—and I didn’t mind. From the moment we walked into the airport it had become plain that if we were stranded here we were stranded here together. (It wasn’t like the time I lost my boy—the time my boy played the piano with that girl Reina in a little New England farmhouse near Bennington, and I realized at last I wasn’t wanted. Guy Lombardo was on the air playing Top Hat and Cheek to Cheek, and she taught him the melodies. The keys falling like leaves and her hands splayed over his as she showed him a black chord. I was a freshman then.)
When we went into the airport Mr. Schwartz was along with us, too, but he seemed in a sort of dream. All the time we were trying to get accurate information at the desk, he kept staring at the door that led out to the landing field, as if he were afraid the plane would leave without him. Then I excused myself for a few minutes and something happened that I didn’t see, but when I came back he and White were standing close together, White talking and Schwartz looking twice as much as if a great truck had just backed up over him. He didn’t stare at the door to the landing field any more. I heard the end of Wylie White’s remark …
“—I told you to shut up. It serves you right.”
“I only said—”
He broke off as I came up and asked if there was any news. It was then half-past two in the morning.
“A little,” said Wylie White. “They don’t think we’ll be able to start for three hours anyhow, so some of the softies are going to an hotel. But I’d like to take you out to the Hermitage, Home of Andrew Jackson.”
“How could we see it in the dark?” demanded Schwartz.
“Hell, it’ll be sunrise in two hours.”
“You two go,” said Schwartz.
“All right—you take the bus to the hotel. It’s still waiting—he’s in there.” Wylie’s voice had a taunt in it. “Maybe it’d be a good thing.”
