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| Fitzgerald’s three revealing ''Esquire'' essays, “The Crack-up,” were not well received in 1936. Hemingway was “appalled,” and his reaction was typical. When, after Fitzgerald’s death, the larger 1945 book, The Crack-Up, appeared, critics and contemporaries were more respectful. This very useful collection, edited by Edmund Wilson, contains—along with the three 1936 “The Crack- Up” essays—some of Fitzgerald’s other significant essays, such as “Echoes of the Jazz Age” (1930), “My Lost City” (1932), and “Early Success” (1937), his Notebooks, letters to and from friends, and much more. His essays in particular present an interesting “autobiographical sequence.” Wilson points out in a preliminary Note,
| | Vladimir Nabokov’s infamous character, Humbert Humbert, suggests that we possess “only words to play with”{{sfn|Appel|1972|p=456}}.Indeed we do—mere words. Yet, using such frail and fallible words, employing flawed humanity and literary genius, these authors transformed personal angst into great art—creating works that shall abide, like Mount Kilimanjaro. In so doing, each has revealed to us genuine truth—a truth that may speak to our flawed but mutual humanity. |
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| {{quote|The following pieces have been selected from the articles written by F. Scott Fitzgerald between 1930 and 1937. They make an autobiographical sequence which vividly puts on record his state of mind and his point of view during the later years of his life.}}{{sfn|Wilson|1993|p=11}}
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| This additional material shed a good deal of light on the original “The Crack-Up” articles, revealing, as Wilson claims, “his state of mind.” Apart from occasional quotations from these other essays, however, my focus here is mainly on the 1936 essays. My intention is to highlight a particular moment the year 1936 and how both Hemingway and Fitzgerald in literary terms responded to the personal and cultural stresses they were experiencing. But there is no doubt that The Crack-Up collection, as a whole, paints a more complete picture of Fitzgerald’s state of mind, as well as—more importantly his literary task.
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| So what was the response to the 1936 “Crack-Up” articles in Esquire? Scott Donaldson, writing in , says, “Above all, and despite their evasions, one is never in doubt in reading them that they come from the heart, that they convey the very real depths of the author’s depression” {{sfn|Fitzgerald’s Nonfiction|2002|p=179}}. Often in his work, Fitzgerald seems to express a sense of angst, but much of that angst seems focused in the three “Crack-Up” essays appearing in 1936. Are these essays merely an expression of “the author’s de- pression”{{sfn|Fitzgerald’s Nonfiction|2002|p=179}}, as Donaldson has said? Is there little else?
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Vladimir Nabokov’s infamous character, Humbert Humbert, suggests that we possess “only words to play with”.Indeed we do—mere words. Yet, using such frail and fallible words, employing flawed humanity and literary genius, these authors transformed personal angst into great art—creating works that shall abide, like Mount Kilimanjaro. In so doing, each has revealed to us genuine truth—a truth that may speak to our flawed but mutual humanity.
