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 "I don't care about truth; I only want happiness !" October 19, 2007
1 out of 1 found this review helpful
At first it is hard not to fall in love with Gloria Gilbert who, like all the self-besotted children of the heady and hedonistic Jazz Age, is so riotously frivolous, so disingenously self-centred. You excuse the fatuous languidness of her husband Anthony Patch as the transitory aimlessness of youth. But you know that these two have it coming when Gloria - in what FSF calls her "Nietszchean moment" - declares "I don't care about truth; I only want happiness!" While the rest of the Ivy League brahmins live out their dreams as writers and movie-makers, Gloria and Anthony squander their money and beauty on endless parties and clubs. At the end they are the flotsam of the Jazz Age. This tale strains at tragic grandeur without quite achieving it, chiefly because its two main protagonists remain essentially unlikeable, without any redeeming attribute that would stir our sympathy. The prose drips with lyricism, but it is without grace, poise and maturity. FSF was only 26 when it was first published, and this book displays a raw diamond that would attain polish a little later.
 Beautifully Written about Depressing Story of the B & D'd [96] October 7, 2007
9 out of 9 found this review helpful
Fitzgerald's farce or satire on upper crust New Yorkers can only be described as being realty becoming greater than fiction. Proclaiming the story "was all true", Fitzgerald intimated that this book was something akin to a kiss-and-tell novel about what had happened within America's richest crowd during the time of World War I.
"Anthony, Maury, and Dick sent in their applications for officers' training-camps and the two latter went about feeling strangely exalted and reproachless; they chattered to each other, like college boys, of war's being the one excuse for, and justification of, the aristocrat, and conjured up an impossible caste of officers, to be composed, it appeared, chiefly of the more attractive alumni of three or four eastern colleges."
Princetonian Fitzgerald created a Harvard protagonist Anthony Patch whose birth right is basically his only strong characteristic - at least so at the end of the novel. During his venerable youth, he locks eyes onto friend Rick's cousin, beautiful Gloria, whose unique spirit and vivaciousness make the self-described bachelor become betrothed.
The book follows the couple for a period of just less than a decade, during which time they fall into numerous elations, and depressions. This see-saw bipolar personality/lifestyle depiction is all-too-common in Fitzgerald's novels. Such was well accentuated in Fitzgerald's doctor and patient relationship in "Tender is the Night" as the patient is ultimately cured and the doctor falls into a deep feeling of desultory depression -- dipsomania. Another of Fitzgerald's common themes is of men chasing after beautiful women who make the boys feel blushing discomfiture. Well depicted here with Gloria as well as in "This Side of Paradise" and its Amory Blaine who constantly trips in his whirlwind attempts to conquer beautiful Rosalind (whose personality and looks mirror those of Gloria).
As the book progresses, you see the self esteem of Anthony deflate, while his wife amazingly awaits him to recover, by miracle or otherwise, and be the man she grew to love at the tender age of 22. Like "Tender is the Night", alcohol interferes with the person and with his relationships -- Anthony becomes a drunken "bore."
There are points of this book you have to think - is this a hypothetical autobiography. Had "Tender is the Night" bombed instead of won critical acclaim, would not Fitzgerald have fallen into the liquor bottle like Anthony? I am sure he wondered as such.
But, as sad as the book can be, Fitzgerald had times of folly and humor. Even a self-deprecating humor. He writes, in one discourse where the people talk disapprovingly about the new novels: "You know these new novels make me tired. My God! Everywhere I go some silly girl asks me if I've read `This Side of Paradise.' Are our girls really like that?"
Amazingly well written, and even more astonishing in that Fitzgerald was 25 years old when he wrote this novel, this book deserves its acclaim and infamy.
 Silent Screams of Change November 15, 2006
3 out of 4 found this review helpful
"It is the manner of life seldom to strike but always to wear away." In The Beautiful and Damned, the author, F. Scott Fitzgerald creates a compelling struggle between life and his two dynamic characters Anthony and Gloria. Fitzgerald inserts his own questions of life and relationships in the offhand statements of his characters, usually too well placed to even be noticed by the reader. And such is the manner of The Beautiful and Damned, to strike at the soul and mind and to wear away our own definitions and conceptions through silent screams of indecision, fear and regret.
Fitzgerald uses his understanding of literature and the power of words to convey two stories: one on the surface, and one, hidden below all plot lines, running deep within each character and within all people who have ever dared to live. He uses color and imagery to clue his readers to this underlying message. Also, Fitzgerald writes in a "play-like" manner, with certain character dialogues, a sense of staging, narration and even in some parts of the book even special "play-like" formatting. This method creates an image of the surface plot, the plot the reader can tangibly grasp: the raised print on the page, the crisp sheets, the grammar and the structure of the story. These elements leave behind all that the reader feels and understands on a deeper level inside the mind, making each reader digest all this information alone, because it is not just bluntly stated by Fitzgerald on paper. This story allows the reader to just read a story, or to jump into the structure of the mind and soul, freeing locked feelings and questions. Fitzgerald's power is to massage his words giving each phrase the power to strike the reader and let them see themselves for the first time.
"They were in love with the generalities." September 22, 2006
6 out of 6 found this review helpful
I recently went to see Gatz, the wonderful adaptation of Gatsby by the Elevator Repair Service, and it inspired me to go back to Fitzgerald's body of work. I had read all the major the major works except for The Beautiful and Damned, and I decided to remedy that gap.
The Beautiful and Damned is an interesting book-- I probably liked it the least of all the Fitzgerald works, but I like his work enough that this is far from a bad thing. I could have lived without the overly obvious moralizing genaralities, but Fitzgerald himself recognized that this book had been written in too much of a hurry.
The major strength of the novel is, of course, the characters. We have all known versions of Gloria and Anthony Patch. We went to college with them. They were the social butterflies who seemed to have no worries, no weaknesses, and no real cares. We all assume that somewhere along the way they had to have stopped partying and found something to do-- you cannot imagine these people at 30. The Beautiful and Damned is something about what happens when the butterflies of the world keep going well past the point of excusable youthful mistakes.
People who already enjoy Fitzgerald should give The Beautiful and the Damned a read. It is certainly no Great Gatsby, but still contains much of the style and talent that made Fitzgerald so justly famous. Pay particular attention to the language and the turn of the phrase-- even in his lesser works, Fitzgerald is unparalleled at his particular kind of style.
"yearningly pretentious & palpably artificial" August 10, 2006
0 out of 3 found this review helpful
I'd read that F. Scott Fitzgerald, older, a full-blown alcoholic with his wife in an insane asylum, went into a bookstore to find all of his books out of print and no longer on the shelves. Not even THE GREAT GATSBY. Wow.
If it wasn't for the personal history of the author, I don't think I would've enjoyed Fitzgerald's second novel, THE BEAUTIFUL AND DAMNED. The first half of the book follows a young couple living the high life in New York City, partying every night, waiting on a rich grandfather to drop dead so they can get their hands on his fortune, annoyed by World War I for interferring with their travel plans. I didn't like these people. They were snobbish and superficial, the worst kind of social climbers since they never accomplished anything. Anthony was horrified at the thought of actually working at anything and Gloria coasted along on her looks, flirting with a movie career until her looks fade away.
Fitzgerald's own snobbery is evident throughout. On page 59, he turns up his nose to describe "The Public" (or "the Consumer"), the common folks out trying to enjoy themselves, and he also can't hide his distaste for the poor Southern mistress Anthony uses during his military service.
I don't think I would've noticed it as much if he'd turned his critical eye to the arrogant fops who were Anthony's Harvard classmates. But they end up rich, so Fitzgerald lets them spout their pretentious and shallow philosophies unchallenged.
What was really interesting to me was that THE BEAUTIFUL AND DAMNED was written before Scott & Zelda Fitzgerald lived their own beautiful damnation, venturing much further into the dark than "Anthony & Gloria" and denied the "happy ending" manufactured for them.
The Barnes & Noble Classics editions of classic novels are definitely worth reading. Pagan Harleman's Introduction perfectly sets up this novel and the footnotes and endnotes help to broaden the reader's understanding.
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