“A big man has no time really to do anything but just sit and be big.”
And
“Action is character.”
And
“Advertising is a racket, like the movies and the brokerage business. You cannot be honest without admitting that its constructive contribution to humanity is exactly minus zero.”
And
“An author ought to write for the youth of his own generation, the critics of the next, and the schoolmaster of ever afterwards.”
And
“Either you think, or else others have to think for you and take power from you, pervert and discipline your natural tastes, civilize and sterilize you.”
And
“Every one suspects himself of at least one of the cardinal virtues.”
And
“First you take a drink, then the drink takes a drink, then the drink takes you.”
And
“Genius is the ability to put into effect what is on your mind.”
And
“I like people and I like them to like me, but I wear my heart where God put it, on the inside.”
And
“Life is essentially a cheat and its conditions are those of defeat; the redeeming things are not happiness and pleasure but the deeper satisfactions that come out of struggle.”
And
“Never confuse a single defeat with a final defeat.”
And
“Scratch a Yale man with both hands and you’ll be lucky to find a coast-guard. Usually you find nothing at all.”
And
“Show me a hero and I’ll write you a tragedy.”
And
“The test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function.”
And
“There are no second acts in American lives.”
And
“You don’t write because you want to say something, you write because you have something to say.”
And
“Once one is caught up into the material world not one person in ten thousand finds the time to form literary taste, to examine the validity of philosophic concepts for himself, or to form what, for lack of a better phrase, I might call the wise and tragic sense of life.”
Amd
“Isn’t Hollywood a dump — in the human sense of the word. A hideous town, pointed up by the insulting gardens of its rich, full of the human spirit at a new low of debasement.”
And
“Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft, where we are hard, cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand.”
And
“There are no second acts in American lives.”
And
“Before I go on with this short history, let me make a general observation – the test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise. This philosophy fitted on to my early adult life, when I saw the improbable, the implausible, often the “impossible,” come true.”
And
“All good writing is swimming under water and holding your breath.
And
“My generation of radicals and breakers-down never found anything to take the place of the old virtues of work and courage and the old graces of courtesy and politeness.”
And
“Show me a hero and I will write you a tragedy.”
And
“On the last night, with my trunk packed and my car sold to the grocer, I went over and looked at that huge incoherent failure of a house once more. On the white steps an obscene word, scrawled by some boy with a piece of brick, stood out clearly in the moonlight, and I erased it, drawing my shoe raspingly along the stone. Then I wandered down to the beach and sprawled out on the sand.
Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors’ eyes—a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.
And as I sat there brooding on the old, unknown world, I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn, and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.
Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter—to-morrow we will run faster, stretch out our arms farther. . . . And one fine morning——
So we beat on, boats against the current, borne back ceaselessly into the past.” The Ending of The Great Gatsby, 1925
Wikipedia: F. Scott Fitzgerald
