The Essential Fitzgerald - 45 Short Stories & Novels in One Edition. F. Scott Fitzgerald

would you do if you left college?” asked Monsignor.

      “Don’t know. I’d like to travel, but of course this tiresome war prevents that. Anyways, mother would hate not having me graduate. I’m just at sea. Kerry Holiday wants me to go over with him and join the Lafayette Esquadrille.”

      “You know you wouldn’t like to go.”

      “Sometimes I would—tonight I’d go in a second.”

      “Well, you’d have to be very much more tired of life than I think you are. I know you.”

      “I’m afraid you do,” agreed Amory reluctantly. “It just seemed an easy way out of everything—when I think of another useless, draggy year.”

      “Yes, I know; but to tell you the truth, I’m not worried about you; you seem to me to be progressing perfectly naturally.”

      “No,” Amory objected. “I’ve lost half my personality in a year.”

      “Not a bit of it!” scoffed Monsignor. “You’ve lost a great amount of vanity and that’s all.”

      “Lordy! I feel, anyway, as if I’d gone through another fifth form at St. Regis’s.”

      “No.” Monsignor shook his head. “That was a misfortune; this has been a good thing. Whatever worth while comes to you, won’t be through the channels you were searching last year.”

      “What could be more unprofitable than my present lack of pep?”

      “Perhaps in itself… but you’re developing. This has given you time to think and you’re casting off a lot of your old luggage about success and the superman and all. People like us can’t adopt whole theories, as you did. If we can do the next thing, and have an hour a day to think in, we can accomplish marvels, but as far as any high-handed scheme of blind dominance is concerned—we’d just make asses of ourselves.”

      “But, Monsignor, I can’t do the next thing.”

      “Amory, between you and me, I have only just learned to do it myself. I can do the one hundred things beyond the next thing, but I stub my toe on that, just as you stubbed your toe on mathematics this fall.”

      “Why do we have to do the next thing? It never seems the sort of thing I should do.”

      “We have to do it because we’re not personalities, but personages.”

      “That’s a good line—what do you mean?”

      “A personality is what you thought you were, what this Kerry and Sloane you tell me of evidently are. Personality is a physical matter almost entirely; it lowers the people it acts on—I’ve seen it vanish in a long sickness. But while a personality is active, it overrides ‘the next thing.’ Now a personage, on the other hand, gathers. He is never thought of apart from what he’s done. He’s a bar on which a thousand things have been hung—glittering things sometimes, as ours are; but he uses those things with a cold mentality back of them.”

      “And several of my most glittering possessions had fallen off when I needed them.” Amory continued the simile eagerly.

      “Yes, that’s it; when you feel that your garnered prestige and talents and all that are hung out, you need never bother about anybody; you can cope with them without difficulty.”

      “But, on the other hand, if I haven’t my possessions, I’m helpless!”

      “Absolutely.”

      “That’s certainly an idea.”

      “Now you’ve a clean start—a start Kerry or Sloane can constitutionally never have. You brushed three or four ornaments down, and, in a fit of pique, knocked off the rest of them. The thing now is to collect some new ones, and the farther you look ahead in the collecting the better. But remember, do the next thing!”

      “How clear you can make things!”

      So they talked, often about themselves, sometimes of philosophy and religion, and life as respectively a game or a mystery. The priest seemed to guess Amory’s thoughts before they were clear in his own head, so closely related were their minds in form and groove.

      “Why do I make lists?” Amory asked him one night. “Lists of all sorts of things?”

      “Because you’re a mediaevalist,” Monsignor answered. “We both are. It’s the passion for classifying and finding a type.”

      “It’s a desire to get something definite.”

      “It’s the nucleus of scholastic philosophy.”

      “I was beginning to think I was growing eccentric till I came up here. It was a pose, I guess.”

      “Don’t worry about that; for you not posing may be the biggest pose of all. Pose—”

      “Yes?”

      “But do the next thing.”

      After Amory returned to college he received several letters from Monsignor which gave him more egotistic food for consumption.

      I am afraid that I gave you too much assurance of your inevitable safety, and you must remember that I did that through faith in your springs of effort; not in the silly conviction that you will arrive without struggle. Some nuances of character you will have to take for granted in yourself, though you must be careful in confessing them to others. You are unsentimental, almost incapable of affection, astute without being cunning and vain without being proud.

      Don’t let yourself feel worthless; often through life you will really be at your worst when you seem to think best of yourself; and don’t worry about losing your “personality,” as you persist in calling it; at fifteen you had the radiance of early morning, at twenty you will begin to have the melancholy brilliance of the moon, and when you are my age you will give out, as I do, the genial golden warmth of 4 P.M.

      If you write me letters, please let them be natural ones. Your last, that dissertation on architecture, was perfectly awful— so “highbrow” that I picture you living in an intellectual and emotional vacuum; and beware of trying to classify people too definitely into types; you will find that all through their youth they will persist annoyingly in jumping from class to class, and by pasting a supercilious label on every one you meet you are merely packing a Jack-in-the-box that will spring up and leer at you when you begin to come into really antagonistic contact with the world. An idealization of some such a man as Leonardo da Vinci would be a more valuable beacon to you at present.

      You are bound to go up and down, just as I did in my youth, but do keep your clarity of mind, and if fools or sages dare to criticise don’t blame yourself too much.

      You say that convention is all that really keeps you straight in this “woman proposition”; but it’s more than that, Amory; it’s the fear that what you begin you can’t stop; you would run amuck, and I know whereof I speak; it’s that half-miraculous sixth sense by which you detect evil, it’s the half-realized fear of God in your heart.

      Whatever your metier proves to be—religion, architecture, literature—I’m sure you would be much safer anchored to the Church, but I won’t risk my influence by arguing with you even though I am secretly sure that the “black chasm of Romanism” yawns beneath you. Do write me soon.

      With affectionate regards,

      THAYER DARCY.

      Even Amory’s reading paled during this period; he delved further into the misty side streets of literature: Huysmans, Walter Pater, Theophile Gautier, and the racier sections of Rabelais, Boccaccio, Petronius, and Suetonius. One week, through general curiosity, he inspected the private libraries of his classmates and found Sloane’s as typical as any: sets of Kipling, O. Henry, John Fox, Jr., and Richard Harding Davis; “What Every Middle-Aged Woman Ought to Know,” “The Spell of the Yukon”; a “gift” copy of James Whitcomb Riley, an