THIS SIDE OF PARADISE

MY LAST FLAPPERS THE JELLY-BEAN. Jim Powell was a Jelly-bean. Much as I desire to make him an appealing character, I feel that it would be unscrupulous to deceive you on that point. He was a bred-in-the-bone, dyed-in-the-wool, ninety-nine three-quarters per cent Jelly-bean and he grew lazily all during Jelly-bean season, which is every season, down in the land of the Jelly-beans well below the Mason-Dixon line. Now if you call a Memphis man a Jelly-bean he will quite possibly pull a long sinewy rope from his hip pocket and hang you to a convenient telegraph-pole. If you Call a New Orleans man a Jelly-bean he will probably grin and ask you who is taking your girl to the Mardi Gras ball. The particular Jelly-bean patch which produced the protagonist of this history lies somewhere between the two—a little city of forty thousand that has dozed sleepily for forty thousand years in southern Georgia occasionally stirring in its slumbers and muttering something about a war that took place sometime, somewhere, and that everyone else has forgotten long ago. Jim was a Jelly-bean. I write that again because it has such a pleasant sound—rather like the beginning of a fairy story—as if Jim were nice. It somehow gives me a picture of him with a round, appetizing face and all sort of leaves and vegetables growing out of his cap. But Jim was long and thin and bent at the waist from stooping over pool-tables, and he was what might have been known in the indiscriminating North as a corner loafer. "Jelly-bean" is the name throughout the undissolved Confederacy for one who spends his life conjugating the verb to idle in the first person singular—I am idling, I have idled, I will idle. Jim was born in a white house on a green corner, It had four weather-beaten pillars in front and a great amount of lattice-work in the rear that made a cheerful criss-cross background for a flowery sun-drenched lawn. Originally the dwellers in the white house had owned the ground next door and next door to that and next door to that, but this had been so long ago that even Jim's father, scarcely remembered it. He had, in fact, thought it a matter of so little moment that when he was dying from a pistol wound got in a brawl he neglected even to tell little Jim, who was five years old and miserably frightened. The white house became a boarding-house run by a tight-lipped lady from Macon, whom Jim called Aunt Mamie and detested with all his soul

Contes de l'âge du jazz

Éclats du paradis

Here is a novel, glamorous, ironical, compassionate – a marvelous fusion into unity of the curious incongruities of the life of the period – which reveals a hero like no other – one who could live at no other time and in no other place. But he will live as a character, we surmise, as long as the memory of any reader lasts.It is the story of this Jay Gatsby who came so mysteriously to West Egg, of his sumptuous entertainments, and of his love for Daisy Buchanan – a story that ranges from pure lyrical beauty to sheer brutal realism, and is infused with a sense of the strangeness of human circumstance in a heedless universe.It is a magical, living book, blended of irony, romance, and mysticism.

Gatsby

First published in 1922, The Beautiful and the Damned followed Fitzgerald's impeccable debut, This Side of Paradise, thus securing his place in the tradition of great American novelists. Embellished with the author's lyrical prose, here is the story of Harvard-educated, aspiring aesthete Anthony Patch and his beautiful wife, Gloria. As they await the inheritance of his grandfather's fortune, their reckless marriage sways under the influence of alcohol and avarice. A devastating look at the nouveau riche and New York nightlife, as well as the ruinous effects of wild ambition, The Beautiful and the Damned achieved stature as one of Fitzgerald's most accomplished novels. Its distinction as a classic endures to this day. Pocket Book's Enriched Classics present the great works of world literature enhanced for the contemporary reader. Special features include critical perspectives, suggestions for further read, and a unique visual essay composed of period photographs that help bring every word to life.

Les heureux et les damnés

"Der Offshore-Pirat" ist eine Geschichte, die 1920 von F. Scott Fitzgerald geschrieben wurde. Es ist eine von acht Geschichten, die in Fitzgeralds erster veröffentlichter Sammlung "Flappers and Philosophers" enthalten sind.

Die Story handelt von Ardita Farnam, die auf einer Reise nach Florida ist. Ihr Boot wird schließlich von Piraten gekapert, sie verliebt sich in deren Kapitän.

In der Ausgabe der Saturday Evening Post vom 27. Mai 1920 wurde die Erzählung zum ersten Mal veröffentlicht, dies war die dritte Veröffentlichung seines Werkes in der Zeitschrift in diesem Monat. Sie zeigt seine rasante Entwicklung als vielseitiger Belletristiker. Es ist die erste Geschichte, die Fitzgeralds immer wiederkehrende Handlungsidee einer Heldin entwickelt, die durch die Ausführung einer außergewöhnlichen Heldentat ihres Geliebten gewonnen wird.

Die Handlung wurde 1921 als Der Off-Shore-Pirat mit Viola Dana in der Hauptrolle als Ardita verfilmt. Im Jahr 2010 hatte eine Opernversion von Joel Weiss an der Christopher Street Opera in New York City Premiere.

Der Offshore-Pirat - Kultige Story aus "Flappers and Philosophers" 1

Lots Of Love: Scott Et Scottie: Correspondence, 1936-1940

Pat Hobby, écrivain et scénariste, vit dans la nostalgie des années d'or du cinéma américain, le temps du muet, "the mosaic swimming-pool age"... le studio avait été, pendant ces années-là, le véritable domicile de Pat... même lorsque, en 1937, l'Administration avait interdit les sofas dans les bureaux...Aujourd'hui hors du coup, inutile, "a man in the way", désargenté, dépressif, Pat vit de rêves et de petits jobs : trouver un titre, une idée de générique pour quelques dollars, faire visiter à des gogos la (fausse) maison de Shirley Temple à Hollywood... Il lui arrive même, à cause de sa barbe, d'être confondu avec son rival heureux : Orson Welles en personne !Ce livre fait partie de la collection "Lire en anglais":Cette collection s'adresse à tous ceux qui désirent découvrir ou redécouvrir le plaisir de lire directement dans la langue d'origine des oeuvres choisies pour leurs qualités littéraires autant que pour leur intérêt linguistique.L'abondance des notes, rédigées en langue étrangère et placées en regard du texte, dispense d'un recours fastidieux au dictionniare.En fin de volume, un lexique de plus de 1000 mots, extraits des nouvelles elles-mêmes, permet au lecteur d'enrichir son vocabulaire.

THIS SIDE OF PARADISE

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