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3. All a conrad generation

F. Scott Fitzgerald and Other Expatriates
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Our Conrad
This chapter is in the book Our Conrad
3all a conrad generationF. Scott Fitzgerald and Other ExpatriatesHas any man ever known, as this one knows, the soul of the human derelict?—Review of Victory, Dial (May 13, 1915)Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision,—he cried out twice, a cry that was no more than a breath—“The horror! The horror!”—Original epigraph of T. S. Eliot’s The Waste Land (1922)But from nothing else I have ever read have I gotten what every book of Conrad has given to me.—Ernest Hemingway, Transatlantic Review (1924)We hanker for loveliness on the horizon, we are inapprehensive of loveliness close to hand; desperately we struggle to discern indiscernibles, to be simultaneously obedient to all the voices of command. Playing feverishly with ideas that are both too heavy and too fragile for our powers of jugglery, it is comforting for those of a younger generation to look upon the novelist who, as much as any now living, has taught us that art may not be an answer but it is always a consolation.—Christopher Morley, Conrad and the Reporters (1925)You are all a lost generation.—Gertrude Stein, epigraph to Ernest Hemingway’s The Sun Also Rises (1926)ouverture transatlantiqueZelda Sayre Fitzgerald sometimes told the story of F. Scott Fitzgerald sitting on a balcony in Hyères one morning in August 1924, his eyes gazing out at the sea, solemn, preoccupied, not unlike Jay Gatsby staring across the waters at the green light at the tip of East Egg. A friend approached and waited a good while before becoming noticed, at which point Fitzgerald, his eyes still on the sea, slowly said: “Conrad is dead.”1 This story is generally understood to express what will become the ultimate conceptual puzzle of this chapter: the exceptional bond of intimacy that led F. Scott Fitzgerald to become, in Zdzisław Najder’s phrase, “perhaps the
© 2020 Stanford University Press, Redwood City

3all a conrad generationF. Scott Fitzgerald and Other ExpatriatesHas any man ever known, as this one knows, the soul of the human derelict?—Review of Victory, Dial (May 13, 1915)Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision,—he cried out twice, a cry that was no more than a breath—“The horror! The horror!”—Original epigraph of T. S. Eliot’s The Waste Land (1922)But from nothing else I have ever read have I gotten what every book of Conrad has given to me.—Ernest Hemingway, Transatlantic Review (1924)We hanker for loveliness on the horizon, we are inapprehensive of loveliness close to hand; desperately we struggle to discern indiscernibles, to be simultaneously obedient to all the voices of command. Playing feverishly with ideas that are both too heavy and too fragile for our powers of jugglery, it is comforting for those of a younger generation to look upon the novelist who, as much as any now living, has taught us that art may not be an answer but it is always a consolation.—Christopher Morley, Conrad and the Reporters (1925)You are all a lost generation.—Gertrude Stein, epigraph to Ernest Hemingway’s The Sun Also Rises (1926)ouverture transatlantiqueZelda Sayre Fitzgerald sometimes told the story of F. Scott Fitzgerald sitting on a balcony in Hyères one morning in August 1924, his eyes gazing out at the sea, solemn, preoccupied, not unlike Jay Gatsby staring across the waters at the green light at the tip of East Egg. A friend approached and waited a good while before becoming noticed, at which point Fitzgerald, his eyes still on the sea, slowly said: “Conrad is dead.”1 This story is generally understood to express what will become the ultimate conceptual puzzle of this chapter: the exceptional bond of intimacy that led F. Scott Fitzgerald to become, in Zdzisław Najder’s phrase, “perhaps the
© 2020 Stanford University Press, Redwood City

Chapters in this book

  1. Frontmatter i
  2. Contents vii
  3. Preface ix
  4. Introduction 1
  5. Part I. The Nation in the World, the World in the Nation
  6. 1. In the crucible of war 41
  7. 2. Appositions 108
  8. Part II. American Modernism Abroad
  9. 3. All a conrad generation 221
  10. Part III. Regions of Conflict
  11. 4. Under southern eyes 265
  12. 5. Faulkner’s conrad 335
  13. Notes 375
  14. Index 451
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https://doi.org/10.1515/9780804775717-005

Chapters in this book

  1. Frontmatter i
  2. Contents vii
  3. Preface ix
  4. Introduction 1
  5. Part I. The Nation in the World, the World in the Nation
  6. 1. In the crucible of war 41
  7. 2. Appositions 108
  8. Part II. American Modernism Abroad
  9. 3. All a conrad generation 221
  10. Part III. Regions of Conflict
  11. 4. Under southern eyes 265
  12. 5. Faulkner’s conrad 335
  13. Notes 375
  14. Index 451
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