Complete Works of F. Scott Fitzgerald (Illustrated) (227 page)
Read Complete Works of F. Scott Fitzgerald (Illustrated) Online
Authors: F. Scott Fitzgerald
That night old man Doldrum and his sons, vowing vengeance, had returned, put a ticktock on the Tantrum window, stuck a pin in the doorbell, and beaten a retreat.
A week later the Tantrums had put Cod Liver Oil in the Doldrums’ still, and so, from year to year, the feud had continued, first one family being entirely wiped out, then the other.
THE BIRTH OF LOVE
Every day little Jemina worked the still on her side of the stream, and Boscoe Doldrum worked the still on his side.
Sometimes, with automatic inherited hatred, the feudists would throw whiskey at each other, and Jemina would come home smelling like a French table d’hôte.
But now Jemina was too thoughtful to look across the stream.
How wonderful the stranger had been and how oddly he was dressed! In her innocent way she had never believed that there were any civilized settlements at all, and she had put the belief in them down to the credulity of the mountain people.
She turned to go up to the cabin, and, as she turned something struck her in the neck. It was a sponge, thrown by Boscoe Doldrum — a sponge soaked in whiskey from his still on the other side of the stream.
“Hi, thar, Boscoe Doldrum,” she shouted in her deep bass voice.
“Yo! Jemina Tantrum. Gosh ding yo’!” he returned.
She continued her way to the cabin.
The stranger was talking to her father. Gold had been discovered on the Tantrum land, and the stranger, Edgar Edison, was trying to buy the land for a song. He was considering what song to offer.
She sat upon her hands and watched him.
He was wonderful. When he talked his lips moved.
She sat upon the stove and watched him.
Suddenly there came a blood-curdling scream. The Tantrums rushed to the windows.
It was the Doldrums.
They had hitched their steers to trees and concealed themselves behind the bushes and flowers, and soon a perfect rattle of stones and bricks beat against the windows, bending them inward.
“Father! father!” shrieked Jemina.
Her father took down his slingshot from his slingshot rack on the wall and ran his hand lovingly over the elastic band. He stepped to a loophole. Old Mappy Tantrum stepped to the coalhole.
A MOUNTAIN BATTLE
The stranger was aroused at last. Furious to get at the Doldrums, he tried to escape from the house by crawling up the chimney. Then he thought there might be a door under the bead, but Jemina told him there was not. He hunted for doors under the beds and sofas, but each time Jemina pulled him out and told him there were no doors there. Furious with anger, he beat upon the door and hollered at the Doldrums. They did not answer him, but kept up their fusillade of bricks and stones against the window. Old Pappy Tantrum knew that just as soon as they were able to affect an aperture they would pour in and the fight would be over.
Then old Heck Doldrum, foaming at the mouth and expectorating on the ground, left and right, led the attack.
The terrific slingshots of Pappy Tantrum had not been without their effect. A master shot had disabled one Doldrum, and another Doldrum, shot almost incessantly through the abdomen, fought feebly on.
Nearer and nearer they approached the house.
“We must fly,” shouted the stranger to Jemina. “I will sacrifice myself and bear you away.”
“No,” shouted Pappy Tantrum, his face begrimed. “You stay here and fit on. I will bar Jemina away. I will bar Mappy away. I will bar myself away.”
The man from the settlements, pale and trembling with anger, turned to Ham Tantrum, who stood at the door throwing loophole after loophole at the advancing Doldrums.
“Will you cover the retreat?”
But Ham said that he too had Tantrums to bear away, but that he would leave himself here to help the stranger cover the retreat, if he could think of a way of doing it.
Soon smoke began to filter through the floor and ceiling. Shem Doldrum had come up and touched a match to old Japhet Tantrum’s breath as he leaned from a loophole, and the alcoholic flames shot up on all sides.
The whiskey in the bathtub caught fire. The walls began to fall in.
Jemina and the man from the settlements looked at each other.
“Jemina,” he whispered.
“Stranger,” she answered,
“We will die together,” he said. “If we had lived I would have taken you to the city and married you. With your ability to hold liquor, your social success would have been assured.”
She caressed him idly for a moment, counting her toes softly to herself. The smoke grew thicker. Her left leg was on fire.
She was a human alcohol lamp.
Their lips met in one long kiss and then a wall fell on them and blotted them out.
“As One.”
When the Doldrums burst through the ring of flame, they found them dead where they had fallen, their arms about each other.
Old Jem Doldrum was moved.
He took off his hat.
He filled it with whiskey and drank it off.
“They air dead,” he said slowly, “they hankered after each other. The fit is over now. We must not part them.”
So they threw them together into the stream and the two splashes they made were as one.
ALL THE SAD YOUNG MEN
This third collection of short stories was published in 1926, following
The Great Gatsby
, and contains nine stories.
The first edition
CONTENTS
RAGS MARTIN-JONES AND THE PR-NCE OF W-LES
THE RICH BOY
Begin with an individual, and before you know it you find that you have created a type; begin with a type, and you find that you have created--nothing. That is because we are all queer fish, queerer behind our faces and voices than we want any one to know or than we know ourselves. When I hear a man proclaiming himself an “average, honest, open fellow,” I feel pretty sure that he has some definite and perhaps terrible abnormality which he has agreed to conceal--and his protestation of being average and honest and open is his way of reminding himself of his misprision.
There are no types, no plurals. There is a rich boy, and this is his and not his brothers’ story. All my life I have lived among his brothers but this one has been my friend. Besides, if I wrote about his brothers I should have to begin by attacking all the lies that the poor have told about the rich and the rich have told about themselves--such a wild structure they have erected that when we pick up a book about the rich, some instinct prepares us for unreality. Even the intelligent and impassioned reporters of life have made the country of the rich as unreal as fairy-land.
Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft where we are hard, and cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand. They think, deep in their hearts, that they are better than we are because we had to discover the compensations and refuges of life for ourselves. Even when they enter deep into our world or sink below us, they still think that they are better than we are. They are different. The only way I can describe young Anson Hunter is to approach him as if he were a foreigner and cling stubbornly to my point of view. If I accept his for a moment I am lost--I have nothing to show but a preposterous movie.
II
Anson was the eldest of six children who would some day divide a fortune of fifteen million dollars, and he reached the age of reason--is it seven?--at the beginning of the century when daring young women were already gliding along Fifth Avenue in electric “mobiles.” In those days he and his brother had an English governess who spoke the language very clearly and crisply and well, so that the two boys grew to speak as she did--their words and sentences were all crisp and clear and not run together as ours are. They didn’t talk exactly like English children but acquired an accent that is peculiar to fashionable people in the city of New York.
In the summer the six children were moved from the house on 71st Street to a big estate in northern Connecticut. It was not a fashionable locality--Anson’s father wanted to delay as long as possible his children’s knowledge of that side of life. He was a man somewhat superior to his class, which composed New York society, and to his period, which was the snobbish and formalized vulgarity of the Gilded Age, and he wanted his sons to learn habits of concentration and have sound constitutions and grow up into right-living and successful men. He and his wife kept an eye on them as well as they were able until the two older boys went away to school, but in huge establishments this is difficult--it was much simpler in the series of small and medium-sized houses in which my own youth was spent--I was never far out of the reach of my mother’s voice, of the sense of her presence, her approval or disapproval.
Anson’s first sense of his superiority came to him when he realized the half-grudging American deference that was paid to him in the Connecticut village. The parents of the boys he played with always inquired after his father and mother, and were vaguely excited when their own children were asked to the Hunters’ house. He accepted this as the natural state of things, and a sort of impatience with all groups of which he was not the center--in money, in position, in authority--remained with him for the rest of his life. He disdained to struggle with other boys for precedence--he expected it to be given him freely, and when it wasn’t he withdrew into his family. His family was sufficient, for in the East money is still a somewhat feudal thing, a clan-forming thing. In the snobbish West, money separates families to form “sets.”
At eighteen, when he went to New Haven, Anson was tall and thick-set, with a clear complexion and a healthy color from the ordered life he had led in school. His hair was yellow and grew in a funny way on his head, his nose was beaked--these two things kept him from being handsome--but he had a confident charm and a certain brusque style, and the upper-class men who passed him on the street knew without being told that he was a rich boy and had gone to one of the best schools. Nevertheless, his very superiority kept him from being a success in college--the independence was mistaken for egotism, and the refusal to accept Yale standards with the proper awe seemed to belittle all those who had. So, long before he graduated, he began to shift the center of his life to New York.
He was at home in New York--there was his own house with “the kind of servants you can’t get any more”--and his own family, of which, because of his good humor and a certain ability to make things go, he was rapidly becoming the center, and the débutante parties, and the correct manly world of the men’s clubs, and the occasional wild spree with the gallant girls whom New Haven only knew from the fifth row. His aspirations were conventional enough--they included even the irreproachable shadow he would some day marry, but they differed from the aspirations of the majority of young men in that there was no mist over them, none of that quality which is variously known as “idealism” or “illusion.” Anson accepted without reservation the world of high finance and high extravagance, of divorce and dissipation, of snobbery and of privilege. Most of our lives end as a compromise--it was as a compromise that his life began.
He and I first met in the late summer of 1917 when he was just out of Yale, and, like the rest of us, was swept up into the systematized hysteria of the war. In the blue-green uniform of the naval aviation he came down to Pensacola, where the hotel orchestras played “I’m sorry, dear,” and we young officers danced with the girls. Every one liked him, and though he ran with the drinkers and wasn’t an especially good pilot, even the instructors treated him with a certain respect. He was always having long talks with them in his confident, logical voice--talks which ended by his getting himself, or, more frequently, another officer, out of some impending trouble. He was convivial, bawdy, robustly avid for pleasure, and we were all surprised when he fell in love with a conservative and rather proper girl.