F. Scott Fitzgerald Collection: The Great Gatsby, The Beautiful and Damned and Tender is the Night. Фрэнсис Скотт Фицджеральд
engagements with her several times for lunch and tea—the former were hurried and, to him at least, rather unsatisfactory occasions, for she was sleepy-eyed and casual, incapable of concentrating upon anything or of giving consecutive attention to his remarks. When after two of these sallow meals he accused her of tendering him the skin and bones of the day she laughed and gave him a tea-time three days off. This was infinitely more satisfactory.
One Sunday afternoon just before Christmas he called up and found her in the lull directly after some important but mysterious quarrel: she informed him in a tone of mingled wrath and amusement that she had sent a man out of her apartment—here Anthony speculated violently—and that the man had been giving a little dinner for her that very night and that of course she wasn’t going. So Anthony took her to supper.
“Let’s go to something!” she proposed as they went down in the elevator. “I want to see a show, don’t you?”
Inquiry at the hotel ticket desk disclosed only two Sunday night “concerts.”
“They’re always the same,” she complained unhappily, “same old Yiddish comedians. Oh, let’s go somewhere!”
To conceal a guilty suspicion that he should have arranged a performance of some kind for her approval Anthony affected a knowing cheerfulness.
“We’ll go to a good cabaret.”
“I’ve seen every one in town.”
“Well, we’ll find a new one.”
She was in wretched humor; that was evident. Her gray eyes were granite now indeed. When she wasn’t speaking she stared straight in front of her as if at some distasteful abstraction in the lobby.
“Well, come on, then.”
He followed her, a graceful girl even in her enveloping fur, out to a taxicab, and, with an air of having a definite place in mind, instructed the driver to go over to Broadway and then turn south. He made several casual attempts at conversation but as she adopted an impenetrable armor of silence and answered him in sentences as morose as the cold darkness of the taxicab he gave up, and assuming a like mood fell into a dim gloom.
A dozen blocks down Broadway Anthony’s eyes were caught by a large and unfamiliar electric sign spelling “Marathon” in glorious yellow script, adorned with electrical leaves and flowers that alternately vanished and beamed upon the wet and glistening street. He leaned and rapped on the taxi-window and in a moment was receiving information from a colored doorman: Yes, this was a cabaret. Fine cabaret. Bes’ showina city!
“Shall we try it?”
With a sigh Gloria tossed her cigarette out the open door and prepared to follow it; then they had passed under the screaming sign, under the wide portal, and up by a stuffy elevator into this unsung palace of pleasure.
The gay habitats of the very rich and the very poor, the very dashing and the very criminal, not to mention the lately exploited very Bohemian, are made known to the awed high school girls of Augusta, Georgia, and Redwing, Minnesota, not only through the bepictured and entrancing spreads of the Sunday theatrical supplements but through the shocked and alarmful eyes of Mr. Rupert Hughes and other chroniclers of the mad pace of America. But the excursions of Harlem onto Broadway, the deviltries of the dull and the revelries of the respectable are a matter of esoteric knowledge only to the participants themselves.
A tip circulates—and in the place knowingly mentioned, gather the lower moral-classes on Saturday and Sunday nights—the little troubled men who are pictured in the comics as “the Consumer” or “the Public.” They have made sure that the place has three qualifications: it is cheap; it imitates with a sort of shoddy and mechanical wistfulness the glittering antics of the great cafes in the theatre district; and—this, above all, important—it is a place where they can “take a nice girl,” which means, of course, that every one has become equally harmless, timid, and uninteresting through lack of money and imagination.
There on Sunday nights gather the credulous, sentimental, underpaid, overworked people with hyphenated occupations: book-keepers, ticket-sellers, office-managers, salesmen, and, most of all, clerks—clerks of the express, of the mail, of the grocery, of the brokerage, of the bank. With them are their giggling, over-gestured, pathetically pretentious women, who grow fat with them, bear them too many babies, and float helpless and uncontent in a colorless sea of drudgery and broken hopes.
They name these brummagem cabarets after Pullman cars. The “Marathon”! Not for them the salacious similes borrowed from the cafés of Paris! This is where their docile patrons bring their “nice women,” whose starved fancies are only too willing to believe that the scene is comparatively gay and joyous, and even faintly immoral. This is life! Who cares for the morrow?
Abandoned people!
Anthony and Gloria, seated, looked about them. At the next table a party of four were in process of being joined by a party of three, two men and a girl, who were evidently late—and the manner of the girl was a study in national sociology. She was meeting some new men—and she was pretending desperately. By gesture she was pretending and by words and by the scarcely perceptible motionings of her eyelids that she belonged to a class a little superior to the class with which she now had to do, that a while ago she had been, and presently would again be, in a higher, rarer air. She was almost painfully refined—she wore a last year’s hat covered with violets no more yearningly pretentious and palpably artificial than herself.
Fascinated, Anthony and Gloria watched the girl sit down and radiate the impression that she was only condescendingly present. For me, her eyes said, this is practically a slumming expedition, to be cloaked with belittling laughter and semi-apologetics.
—And the other women passionately poured out the impression that though they were in the crowd they were not of it. This was not the sort of place to which they were accustomed; they had dropped in because it was near by and convenient—every party in the restaurant poured out that impression … who knew? They were forever changing class, all of them—the women often marrying above their opportunities, the men striking suddenly a magnificent opulence: a sufficiently preposterous advertising scheme, a celestialized ice cream cone. Meanwhile, they met here to eat, closing their eyes to the economy displayed in infrequent changings of table-cloths, in the casualness of the cabaret performers, most of all in the colloquial carelessness and familiarity of the waiters. One was sure that these waiters were not impressed by their patrons. One expected that presently they would sit at the tables …
“Do you object to this?” inquired Anthony.
Gloria’s face warmed and for the first time that evening she smiled.
“I love it,” she said frankly. It was impossible to doubt her. Her gray eyes roved here and there, drowsing, idle or alert, on each group, passing to the next with unconcealed enjoyment, and to Anthony were made plain the different values of her profile, the wonderfully alive expressions of her mouth, and the authentic distinction of face and form and manner that made her like a single flower amidst a collection of cheap bric-à-brac. At her happiness, a gorgeous sentiment welled into his eyes, choked him up, set his nerves a-tingle, and filled his throat with husky and vibrant emotion. There was a hush upon the room. The careless violins and saxophones, the shrill rasping complaint of a child near by, the voice of the violet-hatted girl at the next table, all moved slowly out, receded, and fell away like shadowy reflections on the shining floor—and they two, it seemed to him, were alone and infinitely remote, quiet. Surely the freshness of her cheeks was a gossamer projection from a land of delicate and undiscovered shades; her hand gleaming on the stained table-cloth was a shell from some far and wildly virginal sea. …
Then the illusion snapped like a nest of threads; the room grouped itself around him, voices, faces, movement; the garish shimmer of the lights overhead became real, became portentous; breath began, the slow respiration that she and he took in time with this docile hundred, the rise and fall of bosoms, the eternal meaningless play and interplay and tossing and reiterating of word and phrase—all these wrenched his senses open to the suffocating pressure of life—and then her voice