The Brilliant Pat Hobby Stories are just as the title says, brillliant. I have never red a collection of stories as this. The wit of Mr. Fitzgerald is astonishing as he captures ones attention and then ends the story with a dramatic twist that will leave one rolling on the floor.

I have read nothing like these stories and I know that I will never read anything like them again. When my brother convinced me to read these stories I was, at first, a little skeptical about F. Scott Fitzgerald. I had heard my brother rant and rave about him before but now I understand why he was ranting and raving about him so.

I have thoroughly enjoyed reading this collection of Pat Hobby Short stories. I am now excited to pick up the next F. Scott Fitzgerald Book that my brother will let me borrow.

Pat Hobby, once a successful Hollywood screenwriter, is nothing more than a pathetic has been. Broke, tired, and scrambling to find work, Pat takes on some unconventional methods to fill his pockets and put his name back on the big screen. But things don't turn out as smooth as Pat hopes. After all, as Pat himself repeatedly states, "I'm just a writer," and, "it's a dog's life." Pat's antics backfire and in almost every story he is left with nothing but humiliation.

The Pat Hobby stories were written between 1939 and 1940, when Fitzgerald himself was struggling to keep afloat in Hollywood. Fitzgerald paints the Hollywood scene as cold, calculating, and manipulative. A place where kissing up is more important than the quality of your talents, a place where the writer gets no respect, and a place that most likely today harbors the same attitude that Fitzgerald so deftly described in his final days.

In reading the Pat Hobby Stories, one can feel Fitzgerald's own sense of poor self-worth, despair, and hopelessness. Yet ironically, a twist of dark humor is thrown into the stories, evoking in the reader an ambiguous response of laughing at Pat Hobby while pitying him at the same time. This collection is not only entertaining and easy to read, but is one that will give you broader insight into the late great F. Scott Fitzgerald.

I got a chance to read this book before I read his work in school. It was referred to me by someone I know who said it was funny. I read it and liked it very much. I'm a student and I'm glad I got a chance to read this book before reading the Great Gatsby in school. The Great Gatsby is a good book too but they force it upon us and it's more like punishment than enjoyment. He's also got a great way of writing. It's easier to understand and not as tiresome as some older books like A Tale of Two Cities. In closing, I would like to say one thing, If you don't read this book then you're a stupid loser.

F. Scott Fitzgerald captured the dreams and aspirations of so many people when he wrote of the fabulous excesses of the 20's - a time not unlike the recent "get-rich-quick" mania of the Internet bubble, which also crashed, destroying many fortunes and lifestyles.
In The Crack-Up Fitzgerald writes equally poignantly of the agony of the aftermath of such excess and unfulfilled desires and social insecurities. He was able to capture all of this so clearly because it was the life that he and Zelda aspired to and, from time to timem, lived. But they were always just on the outside, depending on the generosity of others both financially socially. He takes no prisoners.
It is no surprise that he is still being widely read. Don't miss Fitzgeral - it doesn't really matter which of his books you start with, you will find yourself moving through the collection.

If you ever wondered what the down side of the twenties were read this. The excess was all a grand show, an escape from post war realities. A whole generation seemed to refuse to grow up, at least for awhile. Maturity was forced upon Scott and in these short confessions he reveals that all was not well in paradise. He lived in a haze of liquor, that was the dream preserving liquid illusion. But reality was not to be fought off forever. This is as close to a biography as we have from Scott, and it is moving in the way it is moving to see an athlete we all wanted to believe would live forever come to his day of retirement. He had the ability or charisma compounded by artistic talent to embody not just his but a whole societies dreams. But his moment passed and by the time Scott wrote this his books were no longer the rage. What makes him such a tragic figure is that he never altogether let go of those first illusons, never went through a moment where he learned from them and let them go. And one senses just as he had the egotists ability to romanticize his life with his words he also had the ability to perhaps overdramatize his own demise. He was not a person to learn, become made of harder stuff, and continue. Still there is some good stuff in this book. His letters to his daughter( who also wished to become a writer) in which he urges her to read great authors including his own favorite Browning are touching and revealing.

I came to this collection of autobiographical and other short stories after having read THE GREAT GATSBY for english A level. The contents of this book unlike Gatsby, are a backward look at the Jazz age, from the perspective of one of it's greatest godfathers. I never tire of reading these stories, whereas I found the Great Gatsby a little bit silly, this collection shows the true talents of FSF. It was the short autobiog pieces that really impressed me, specifically, My Lost City, and The Crack Up. I strongly urge everyone to read this.

"The Great Gatsby" is my favorite book. This early version is absoultutely fascinating to me. I've read much about the history of the manuscript and the changes made to it, and with "Trimalchio" we get to read for ourselves one version. I was thrilled to have this unusual opportunity; I felt privileged. (Only one complaint in this review is in my last paragraph.)

Aside from the sheer thrill of witnessing at least part of the transition and revision, the book itself is a wonder--to one end--to be viewed along with "The Great Gatsby." Things I've been bothered by in "Gatsby" are different in this book, and it's interesting to read that they had indeed been altered - most notably, the mid-section in "Gatsby" when Nick tells the reader in a near omnicient narration Gatsby's true story; this happens entirely differently in "Trimalchio" and in my opinion does not break the narrative flow the way it does in the final "Great Gatsby."

Some unanswered questions, some debated items become clearer after reading this. Is Gatsby a good guy or a bad guy? Is Nick? Who is Jordan Baker really? Is Nick the agent of the action or an observant/removed narrator? "Trimalchio" presents the answers to some of these questions differently than does "The Great Gatsby," or in a more straightforward and clear fashion. In a sense, this could be a truer-to-Fitzgerald's-soul account, as many of the changes were suggested to him from the outside. Many of the characters underwent changes from this version to "The Great Gatsby," though some changes more major than others.

I'm trying, in this review, not to write what would be a book's worth of my opinion about which is a superior book. Gatsby is such a part of me I could write forever. I will mention that typos and other necessary changes were made from this to the final, as well. And although some things I've questioned and have bothered me simply because I do love the book so much are different in this early version, I don't know how I'd feel if this were the *only* version of the book, as what we have here is an early version of a book I'd always thought brilliant.

The language is beautiful; the characters amazing, sad, complex. I'm infinitely impressed by this book, whichever level of "completion."

I've got one complaint about this edition of "Trimalchio": at the back of the book, there is a list of changes made - galley version, holograph, 1st edition, etc. They are laid out in such a way that they are hard to follow and hard to study. I nearly know "The Great Gatsby" by heart. While reading "Trimalchio" I noticed tiny, tiny differences. But, after I finished, I wanted to truly study the changes at each stage of Fitzgerald's writing, and the lay-out and lack of explanation made it oppressively uninviting. It's too bad, too, because I am ceaselessly (as FSF might say) interested in this - this book, the revision process, its history, everything Gatsby.

For all the talk about the many differences with The Great Gatsby, Trimalchio is still essentially a rough draft of the classic it became rather than a separate and distinct novel. Only the final two chapters are appreciably different beyond the point of reading both novels side by side a page at a time (and as much as I admire Fitzgerald, I'll leave that task to someone else!). Nonetheless, there are enough slight changes in character development and imagery throughout the book to make it interesting.

In one sense - especially in the little-changed early chapters - this version of the story is interesting mostly in that it demonstrates the improvement brought about by the relatively few changes that were still to come. For example, Jordan Baker's climactic recollection of seeing Daisy and Gatsby together during the war is quite a bit less scandalous here than in the final version, so that the plot still advances but much of the tension of the scene is lacking. Some of the party scenes are also less detailed than they would become. None of this is to say these parts of the book aren't still enjoyable, especially if you haven't read Gatsby recently; it's just that the changes Fitzgerald made really did improve the story in small but noticeable ways.

Although the end of the story is largely the same, the last two chapters do hold several surprises for those who are already familiar with the final version. Gatsby is portrayed at least slightly more sympathetically, Nick is less of a shadow, and the past events leading up to the currently unfolding plot are both different and somewhat less vague. This takes away some of the mystique of several of the characters, but it's not necessarily better or worse; in any case, it's fascinating to see Fitzgerald's original approach and how it changed. One thing he arguably didn't change enough is Nick's bleak outlook in the closing pages; life doesn't end at 30 just because of a lousy summer! I've always considered that the weakest point of the novel, but this version at least offers a slightly different context and narration of the ending.

Imperfections and all, it's still brilliant. Recommended for all Gatsby fans.

I first encountered "The Great Gatsby" in 11th grade and its sheer lyric beauty has transfixed me to the point of at least 4 readings per year ever since. Therefore, "Trimalchio" was a joy for me to read and I believe it will bring the same amount of happiness to fellow Fitzgerald fans. The book is a brief read at only 146 pages of actual text,( as opposed to "Gatsby's" 189 in the most recent Scribner paperback edition) but the opportunity to read the rough draft of a genuis like Fitzgerald is an invigorating experience- reading passages from "Trimalchio" and then looking at their equivalent passages in "Gatsby" allows you to enter the mind of Fitzgerald through his revisionary decisions and enchances your appreciation of the sheer amount of work which Fitzgerald devoted to crafting his masterpiece. That being said, do not expect incredible differences between the two texts: the most notable changes are minor details and the chronilogical order of events and revelations. Reading "Trimalchio" is ultimately like watching deleted scenes from a movie on a DVD- they are of comparatively minor significance, but they enhance one's appreciation of the work as a whole. If you loved "The Great Gatsby," take the time to read "Trimalchio."

I listened to this book over a few nights with my wife, after having read it first some sixteen years ago. It is a masterpiece, and known widely as such, but what surprised me on hearing it was how the book I'd remembered as terribly romantic was actually rather clear-eyed and dark. My wife, who had never read it, listened spell-bound, and at the end burst into tears at the sadness of it. A word about Scourby as reader - he is restrained but emotional, captures the personality of each character with a slightly different tone, and - most importantly for me - brings out the fact that the closing pages, which are often quoted out of context as deeply romantic, are in fact painfully cynical, a voice of disenchantment about the cost of America, not its promise. A masterpiece on the page and on tape. Can't recommend it too highly.

After living abroad in the Middle East for a year and traveling through more than twenty-five countries, I recently re-read The Great Gatsby, seeking the familiarity of America. The Great Gatsby captures what is different about Americans and the American experience. At its most basic, America represents endless striving for greatness. Whether in business, science, athletics or world affairs, Americans imagine and seek the best. Though we often stumble and fall short; though we often cut corners to achieve our dreams - striving for greatness is the essence of America. In Gatsby, we feel what it is like to want something so badly, to succeed in reaching it and to ultimately fail. How many of us have not shared these experiences in some way or another? American writings today, such as David Ebershoff's Pasadena (2002) and Scott Gaille's The Law Review (2002), continue to explore Gatsby's central theme of obsession with greatness. In this time of global uncertainty, we can get back in touch with what it means to be an American by reading such books.

This was a book that stayed with me long after hearing it read. I found Gatsby to be a very intriguing character because of his singleminded passion. I enjoyed understanding the thoughts and ideas of Carraway. The writing provided vivid imagery of a time gone by and yet it was a timeless story. Highly recommend.

F. Scott Fitzgerald scholar Matthew J. Bruccoli offers a discerning sample of Fitzgerald's letters that serve as an informal biography. Fitzgerald suffered many demons. Alcoholism and poor health were the obvious problems. From reading his letters, we learn that protecting his artistic integrity also weighed heavily on him. Money problems forced him to spend time writing lightweight but commercially viable stories for magazines. This took precious time away from his major work of writing serious novels. His afflicted wife, Zelda, was another dilemma. In 1930, Zelda had her first breakdown, and never recovered. Providing for her care and treatment added to his money woes. Although Fitzgerald enjoyed early success in 1920 with "This Side of Paradise," it was short-lived. By 1924, he wrote to Edmund Wilson, "I really worked hard as hell last winter--but it was all trash and it nearly broke my heart." There was critical success in 1925 with "The Great Gatsby," but it was a financial disappointment. Fitzgerald spent the next nine years writing, revising, and agonizing over "Tender Is the Night." Contrary to hope, that book failed to restore his reputation. The letters display deep introspection, opinions on other writers, comments of manners and morals, and daily concerns of money. There are also amusing and chatty letters to his daughter, Scottie. Fitzgerald's letters to Scribner's Maxwell Perkins and his literary agent, Harold Ober, are the most interesting, and reveal much of his concerns and ideas. Letters written to Zelda in the sanitarium are generally tender and loving, but occasionally they are cross and complaining. The book stops with a letter written to Scottie shortly before Fitzgerald's death in December 1940. Recommended reading for F. Scott Fitzgerald fans. ;-)

This is the sort of book that makes one long for the days prior to-email, when people actually wrote letters to one another and correspondence other than bills and junk mail filled one's mailbox. The book is a valuable supplement to Fitzgerald's many biographies; his letters reveal a remarkable clarity and self-awareness. My heart ached after reading some of them. A must read for all Fitzgerald historians.

I do recommend reading one of Fitzgerald's many biographies prior to reading his letters, as it is a fascinating exercise comparing Fitzgerald's interpretation/rationalization of an event with a third party's.

If you want to gain insight into the life of F. Scott Fitzgerald then seek no further. This amazing compilation of Fitzgerald's correspondences to family, friends, business associates and acquaintances portrays the man and the writer in a way no biographer could imagine. In his letters can be clearly seen Fitzgerald the literary genius, Fitzgerald the loving husband and father as well as Fitzgerald the sycophant and Fitzgerald the tortured and insecure neurotic.The genesis and the demise of one of the most fascinating men of his time eloquently presented in his own words.

I first became acquainted and fell in love with the work of F.Scott Fitzgerald when I read a hardback copy of The Great Gatsby in my early 20s. Since then, I have read Tender Is The Night and This Side of Paradise, so when I discovered this collection of stories by my literary hero, I floated up to the cieling. My favorites include The Diamond As Big As The Ritz and Bernice Bobs Her Hair, and anyone who has not already been introduced to Fitzgerald, either in English class at school or while browsing in a local bookstore, it's not too late to change your mind, and it is my sincere hope that you will love this man's work as much as I do!

I was delighted to find out that not only were F. Scott Fitzgerald's short stories being narrated on audio cassette, but that one of the performers was none other than Robert Sean Leonard. Scottie is by far one of my favorite American authors. It takes an incredible talent to condemn the life you live in your literature, and when I think how he strived for excellence but fell victim to society, I can't help but pity him. His writing is so delicious to read as well. He has such wonderful similies and metaphors, and is so descriptive I can taste the wine, feel the rain and see the stars. The Jazz Age is one of my favorite time periods and F. Scott Fitzgerald captures it perfectly. You see the glittering side but then the glitter gets tarnished as it must. What is even better about this audio is that one of the narrators is none other than my favorite actor, Robert Sean Leonard (better known as Neal in Dead Poets Society and Claudio in Much Ado About Nothing among other films). His voice is wonderful to listen to, even if you're not a fan of his acting. It's perfectly clear and flowing and it reminds you of listening to your parents reading you a bedtime story. The tape itself leaves you feeling as if you've been on an emotional rollercoaster. There's a nice beginning, then it peaks with conflict, the resolution, and then the end finishes as calmly as it started. Yet you've gained something from it. Fitzgerald has some incredibly phenomenal themes in his work. The odd part is that I usually don't like getting audio books, but I certainly reccomend this audio of The Stories of F. Scott Fitzgerald" It's worth every penny.

Surely an icon in the annals of American literature, F. Scott Fitzgerald produced a body of work which epitomized the Roaring Twenties. It has been said that his dominant influences were "aspiration, literature, Princeton, Zelda Sayre Fitzgerald, and alcohol." Nonetheless, his writing possesses an urgency, a bite, unrivaled by his peers.

Collected in this superb audio are nine of his early stories performed by accomplished actors. Broadway/film actress Blythe Danner reads "Bernice Bobs Her Hair," a narrative inspired by a lengthy letter Fitzgerald wrote to his younger sister, Annabel, in which he offered advice on how she could become popular with boys.

"The Jelly-Bean," read by Dylan Baker, takes place in Georgia. Fitzgerald credits his wife for her expertise in helping him write a portion of this tale involving crap shooting, saying "as a Southern girl" she was an expert at this endeavor.

The talented Peter Gallagher reads "Head and Shoulders," the first of Fitzgerald's story to appear in The Saturday Evening Post.

Also found in the collection are "The Diamond As Big As The Ritz," "Dalyrimple Goes Wrong," "The Ice Palace," "Benediction," "The Curious Case Of Benjamin Button," and "May Day."

This is an exemplary combination of memorable prose and oral presentation, a remarkable listening experience.

Along with its amazing choice of words and indescribable wit, The Great Gatsby has become the greatest novel an American author has ever written. F. Scotts Fitzgerald's genuine look into "The Roaring Twenties" gives us a view of a "lost generation" of aristocratic life and the American dream. It must be analyzed and compared to our time in the late 1990's and early second millenia. This book is a classic not because critics revered its content, it is as great as it is because America embraced it. The novel deserves your attention and leaves you satisfied. So when Nick Carraway says "So we beat on, boats against the current, born back ceaselessly into the past," the reader would close their books and look at the front cover of the novel and feel a little bit more complete.

The Great Gastby is simply captivating! It pulls you into this dream world of the "night life" and you long to be with these characters. With it's intense symbols, mysterious style, and it's stunning turn of events, this is a classic.

In the boom economy of today, with a bust probably around the corner, Fitzgerald's stories of American dreams, aspirations to riches and ultimate human frailty have a renewed relevance and poignancy. This collection is worth getting if only for 'The Ice Palace' and 'Babylon Revisited'. Also great reading is 'The Rich Boy', 'The Freshest Boy', and 'Crazy Sunday'. Other stories in this collection are 'May Day', 'The Diamond Big as the Ritz', 'Winter Dreams', 'Absolution', and 'The Long Way Out'.

I bought this volume of stories simply to get a copy of Fitzgerald's "May Day" which I'd read in one of my college texts and then could not find for years. I have always felt that "May Day" would make a superb film--and the screenwriter could lift most of the dialogue right out of the story. It is that good and simple and dramatic. Actually every one of the stories in this collection is first rate. Here is Fitzgerald, only in his 20's, writing of American aspirations before, during and after World War I. And no one wrote about this subject better than he did. The characters are rich and complex, all of them dissatisfied with the bones that life has thrown them, all of them desiring what others have. The reader sees their foibles and loves them anyway. These are not perfect people. They are real people in a time of trouble--fighting, most of them, simply to stay afloat in a world changing faster than anyone would have thought possible. I cannot recommend these brilliant stories highly enough. There is also a brief life and appreciation of Fitzgerald in this lovely Scribner edition.

I've just started on this book and already the stories I've read so far I have to rate as among the best short stories I have ever read. "Winter Dreams" was just exquisitely gorgeous, "The Diamond as Big as the Ritz" is a fantasy of astonishing invention, and "May Day" really opened my eyes to the unlimited terrain the short format offers. Fitzgerald is a genius--his ability to evoke imagery and illusion is absolutely breathtaking!

Originally published serially in "The Saturday Evening Post," Fitzgerald's "The Basil and Josephine Stories" was probably underappreciated in its time--the late 1920s. Fitzgerald's mastery of prose and storytelling shine, however, in this collection of short stories. The book is divided into two halves, the first dealing with Basil (a fictionalized version of Fitzgerald as a young man) and the second with Josephine (a fictional young woman in America in the early part of the 20th century). We follow Basil through the adventures and misadventures of his early life as he searches for acceptance and meaning. Josephine searches for love and friendship, among other things. Both meet with success that can only be described as questionable. Beautifully written and suprisingly deep, this collection offers profound insight into the psyche of the Lost Generation. I highly recommend it to anyone interested in modern American literature.

this charming collection of stories written by f. scott fitzgerald follows the physical, emotional, and social growth of two characters at the turn of the century. Basil, the typical rebellious child, struggles to find some understanding of life, school, friendship, and, most importantly, women. fitzgerald details a number of episodes in basil's life starting with his childhood and following him through his entrance into school. i don't know if basil ever entirely grew up or learned as much as he desired, but he came as close as any man can. the josephine stories follow roughly the same time span, but tend to focus more on her relationships and her place in society as a young woman at the turn of the century. all of the stories are masterfully told and it is obvious why fitzgerald became such a well known and respected writer. his storytelling is unparalleled and his descriptive language and imagery transports the reader to a different place and time. i highly recommend this book to any fitzgerald fan, whether an experienced one or a not-so-experienced one. i think it a shame that this book does not get more recognition than it does, recognition that it most definitely deserves.

I really liked this book. And this isn't coming from some super-articulate adult. This is coming from a 14-year-old High School Freshman. It really shows you what life was like back then in the early 1910's, and how teens back then deal with the same stuff as we do, such as popularity, dating, cars, etc.

Peter Dale Scott poses essential questions and his investigations lead to very disturbing answers.

He uses the JFK assassination as a paradigm for the revelation and understanding of the real powers in the US.
With parallels to 3 other political scandals (MacCarthyism, Watergate, Contragate) he shows that there are deep continuities in the US political system. He arrives at the most alarming conclusion that the US power system is intrinsically vicious, violent and murderous and that conspiracies form an essential part of it.
He shows convincingly that the real powers in the US lay in a symbiosis of public government, organized crime and private wealth.
Most diabolic are the FBI (lead by the insidious Edgar J. Hoover) and the CIA, which are both responsible for the ruthless destruction of opponents and dissidents without legal or moral restraint.
This book gives an appalling picture of the Agency, fighting for the justification of its existence and its resources by prolonging the Cold War. It infiltrated the media in order to preach its Gospel. It used organized crime and drug traffickers as means for its ends.
Very revealing also is the fact that 20 percent of the shares of General Dynamics were in the hands of the mob.

His final analysis is devastating: 'how far our office-holders, including our Presidents, have been reduced to the status of clients, dispensable when the more enduring patronage is withdrawn?' and 'To what extent has our visible political establishment become one regulated by forces operating outside the constitutional process?'
After reading this book, I confess that posing these questions is answering them.

A provocative, dark and disturbing book.
A must read.

Scott's account explores the reasons behind John Kennedy's murder, which he regards as a highly complex crime. He explains it in terms of "deep politics," or an "intelligence, mob, corporate gray alliance." This was an odd coalition of big-city political bosses, Mafia, CIA, FBI, anti-Castro Cubans, and generals eager to escalate the Vietnam War, working to eliminate a president perceived as threatening the status quo. Scott begins by examining JFK's decision to withdraw 1,000 American advisors from South Vietnam and continues with a discussion of Jack Ruby and Lee Harvey Oswald's alleged mob and government connections. On the issue of Vietnam withdrawal, Scott borrows heavily from John Newman, who alleges that Kennedy planned to withdraw from Southeast Asia. Scott repeats this claim, ignoring the consensus view that this merely was a rotation, not a withdrawal of troops. Scott's assertion of Ruby and Oswald's connections is based simply on circumstantial evidence. He accuses no one, but seemingly implicates everyone. Despite this flaw, Scott's work is a stimulating piece that does not rehash the mechanics of the assassination but examines the political roots of a political crime. All levels.

In a country such as ours, anyone attempting to voice an opinion that falls outside the mainstream is ridiculed and margainalized until no one takes them seriously. Not so with Professor Scott. Incredibly well researched and documented, he makes a strong case for who actually runs this country, and why.

It is books like this that show you why your vote is meaningless, protest is generally futile, and how the US can skip around the world, bringing down governments (and at home) and no one says boo. Frightening book, and required reading for anyone interested in the death of JFK, a landmark event.