All the Sad Young Men

All The Sad Young Men

F Scott Fitzgerald

1926

All the Sad Young Men is the third collection of short stories written by F. Scott Fitzgerald, published in 1926. It contains nine stories:

1 The Rich Boy 2 Winter Dreams 3 The Baby Party 4 Absolution 5 Rags Martin-Jones and the Pr-nce of W-les 6 The Adjuster 7 Hot and Cold Blood 8 The Sensible Thing 9 Gretchen's Forty Winks

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THE RICH BOY

by

F. Scott Fitzgerald (1896-1940)

Red Book (January and February 1926)

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.

Her name was Paula Legendre, a dark, serious beauty from somewhere in California. Her family kept a winter residence just outside of town, and in spite of her primness she was enormously popular; there is a large class of men whose egotism can't endure humor in a woman. But Anson wasn't that sort, and I couldn't understand the attraction of her "sincerity"--that was the thing to say about her-- for his keen and somewhat sardonic mind.

Nevertheless, they fell in love--and on her terms. He no longer joined the twilight gathering at the De Sota bar, and whenever they were seen together they were engaged in a long, serious dialogue, which must have gone on several weeks. Long afterward he told me that it was not about anything in particular but was composed on both sides of immature and even meaningless statements--the emotional content that gradually came to fill it grew up not out of the words but out of its enormous seriousness. It was a sort of hypnosis. Often it was interrupted, giving way to that emasculated humor we call fun; when they were alone it was resumed again, solemn, low-keyed, and pitched so as to give each other a sense of unity in feeling and thought. They came to resent any interruptions of it, to be unresponsive to facetiousness about life, even to the mild cynicism of their contemporaries. They were only happy when the dialogue was going on, and its seriousness bathed them like the amber glow of an open fire. Toward the end there came an interruption they did not resent--it began to be interrupted by passion.

Oddly enough, Anson was as engrossed in the dialogue as she was and as profoundly affected by it, yet at the same time aware that on his side much was insincere, and on hers much was merely simple. At first, too, he despised her emotional simplicity as well, but with his love her nature deepened and blossomed, and he could despise it no longer. He felt that if he could enter into Paula's warm safe life he would be happy. The long preparation of the dialogue removed any constraint--he taught her some of what he had learned from more adventurous women, and she responded with a rapt holy intensity. One evening after a dance they agreed to marry, and he wrote a long letter about her to his mother. The next day Paula told him that she was rich, that she had a personal fortune of nearly a million dollars.

III

It was exactly as if they could say "Neither of us has anything: we shall be poor together"--just as delightful that they should be rich instead. It gave them the same communion of adventure. Yet when Anson got leave in April, and Paula and her mother accompanied him North, she was impressed with the standing of his family in New York and with the scale on which they lived. Alone with Anson for the first time in the rooms where he had played as a boy, she was filled with a comfortable emotion, as though she were pre-eminently safe and taken care of. The pictures of Anson in a skull cap at his first school, of Anson on horseback with the sweetheart of a mysterious forgotten summer, of Anson in a gay group of ushers and bridesmaid at a wedding, made her jealous of his life apart from her in the past, and so completely did his authoritative person seem to sum up and typify these possessions of his that she was inspired with the idea of being married immediately and returning to Pensacola as his wife.

But an immediate marriage wasn't discussed--even the engagement was to be secret until after the war. When she realized that only two days of his leave remained, her dissatisfaction crystallized in the intention of making him as unwilling to wait as she was. They were driving to the country for dinner and she determined to force the issue that night.

Now a cousin of Paula's was staying with them at the Ritz, a severe, bitter girl who loved Paula but was somewhat jealous of her impressive engagement, and as Paula was late in dressing, the cousin, who wasn't going to the party, received Anson in the parlor of the suite.

Anson had met friends at five o'clock and drunk freely and indiscreetly with them for an hour. He left the Yale Club at a proper time, and his mother's chauffeur drove him to the Ritz, but his usual capacity was not in evidence, and the impact of the steam- heated sitting-room made him suddenly dizzy. He knew it, and he was both amused and sorry.

Paula's cousin was twenty-five, but she was exceptionally naďve, and at first failed to realize what was up. She had never met Anson before, and she was surprised when he mumbled strange information and nearly fell off his chair, but until Paula appeared it didn't occur to her that what she had taken for the odor of a dry-cleaned uniform was really whiskey. But Paula understood as soon as she appeared; her only thought was to get Anson away before her mother saw him, and at the look in her eyes the cousin understood too.

When Paula and Anson descended to the limousine they found two men inside, both asleep; they were the men with whom he had been drinking at the Yale Club, and they were also going to the party. He had entirely forgotten their presence in the car. On the way to Hempstead they awoke and sang. Some of the songs were rough, and though Paula tried to reconcile herself to the fact that Anson had few verbal inhibitions, her lips tightened with shame and distaste.

Back at the hotel the cousin, confused and agitated, considered the incident, and then walked into Mrs. Legendre's bedroom, saying: "Isn't he funny?"

"Who is funny?"

"Why--Mr. Hunter. He seemed so funny."

Mrs. Legendre looked at her sharply.

"How is he funny?"

"Why, he said he was French. I didn't know he was French."

"That's absurd. You must have misunderstood." She smiled: "It was a joke."

The cousin shook her head stubbornly.

"No. He said he was brought up in France. He said he couldn't speak any English, and that's why he couldn't talk to me. And he couldn't!"

Mrs. Legendre looked away with impatience just as the cousin added thoughtfully, "Perhaps it was because he was so drunk," and walked out of the room.

This curious report was true. Anson, finding his voice thick and uncontrollable, had taken the unusual refuge of announcing that he spoke no English. Years afterward he used to tell that part of the story, and he invariably communicated the uproarious laughter which the memory aroused in him.