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 Needed some more work by Maxwell Perkins, but contains many moments of brilliance December 7, 2008
I've probably read The Beautiful and Damned ten or more times--it is a very compelling story, although it also contains many annoying flaws. It, as others have stated, is somewhat verbose and seems as though it was not edited as heavily with Maxwell Perkins (as Gatsby later was.) The third person omniscient narrator is somewhat preachy--and obstructs much of the action, but there are passages of absolute brilliant, clear description of self-destruction and living in the moment. The narrative is almost bone-crushingly linear, as Gloria and Anthony fling themselves toward their inevitable, terrible fate. They "achieve" their notion of the American dream, in the end, but at a terrible cost to them both...
The topic and the structure of this book is echoed amazingly in Hubert Selby Jr.'s Requiem for a Dream. The characters in that book also lose sight of the reality of their lives in their desperate pursuit of their "dreams." It would be interesting to know if Selby might have been inspired by this Fitzgerald novel. It certainly reads as if he did.
Shows Flashes of Brilliance October 14, 2008
1 out of 1 found this review helpful
Fitzgerald wrote this novel immediately before he wrote The Great Gatsby, to my mind to best American novel of the twentieth century. So I picked this book up with considerable interest. There are points in the book where Fitzgerald reaches some of the heights of Gatsby. The description of Patch's descent into alcoholism, his regrets and weird investment in his own nihilism and deterioration, and the extraordinary description of the dysfunctional co-dependency between Patch and his wife Gloria are truly great. This part of the book is riveting.
Also worthwhile is the humor and satire of the book, something that really is not present in Gatsby. While in some respects, the book pokes fun at everyone, including Patch's crusading reformer of a grandfather and his novelist friend Caramel, I don't think Fitzgerald is himself a cynic or nihilist. The descriptions of what Patch's more idealistic Harvard classmates do and Patch's transient regrets about his wasted life, clearly reflect the conventional moral lesson that Fitzgerald is trying to deliver: do good; make something of your life.
But the book is not in Gatsby's league, and Fitzgerald at this early point in his career (he's only 25) is still developing as a writer. The early chapters of the book are written with an irritatingly intrusive narration, and the reader must have patience to stick with the book. Fitzgerald seems to find his voice a third of the way through, and the novel then just takes off. The ending of the book is disappointing and contrived. It serves Fitzgerald's ironic purposes and digs at the idle rich, but it's not believable. Also, Fitzgerald does not understand the legal system that is at the heart of Patch's struggles and completely bungles his description of how the appellate process works. And the title of the book -- please. Couldn't he have come up with something better than that? It sounds like something his character Richard Caramel would use for one of his many bad novels. This book would have been much improved with editing or a rewrite.
In any event, a lesser work by Fitzgerald is a masterpiece by anyone else's standards. I recommend it.
 "I don't care about truth; I only want happiness !" October 19, 2007
1 out of 2 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 ingenously 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
4 out of 4 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 14, 2006
4 out of 5 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.
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