That Sad Young Man

The “sad young man” in question was none other than F. Scott Fitzgerald, who was profiled by John Chapin Mosher in the April 17, 1926 issue of The New Yorker.

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April 17, 1926 cover by Clayton Knight.

Mosher wrote that Scott believed he was “getting on in years,” even though he was only 29 years old and had recently published The Great Gatsby (which had received a brief, lukewarm review from The New Yorker in 1925). Mosher observed that the novelist and his wife, Zelda, famous on two continents and with money pouring in from the publication of This Side of Paradise, nevertheless complained of being broke:

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It was noted however that the couple had little financial sense:

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Mosher found Fitzgerald to be a grave, hardworking man, and seemed to sense the melancholy that would lead to madness (in Zelda’s case), alcoholism and an early grave (Fitzgerald would be dead in 14 years).

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Illustration of Fitzgerald by Victor De Pauw for the April 17 “Profile.”

In this issue we were also introduced to Peter Arno’s “Whoops Sisters,” although they are not yet identified here by that title:

Screen Shot 2015-12-10 at 9.22.43 AMAccording to New Yorker cartoonist Michael Maslin, “in 1925, The New Yorker published nine Arno drawings. In 1926, it ran seventy-two. The enormous jump was due to the wild success of two cartoon sisters Arno created: Pansy Smiff and Mrs. Abagail Flusser, otherwise known as The Whoops Sisters. The Sisters were not sweet little old ladies — they were naughty boisterous grinning “wink wink, nudge nudge” sweet little old ladies, their language laced with double entendres.”

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April 24, 1926 cover by Ilonka Karasz.

In the April 24, 1926 issue, the dyspeptic film critic Theodore Shane took aim at Cecil B. DeMille’ The Volga Boatman:

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VOLGA HOKUM…Elinor Fair and Victor Varconi in The Volga Boatman. (Virtual History)

Also in this issue, Al Frueh’s interpretation of New York’s social strata via the city’s Madison Avenue train stops:

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Near the theatre section, this illustration of famed Spanish singer and actress Raquel Meller, as rendered by Miguel Covarrubias:

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And a photo of Meller from the 1920s that looks like it could have been taken yesterday:

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An international star in the 1920s and 1930s, Meller appeared in several films and sang the original version of the well known song La Violetera.

Next Time: The Circus Comes to Town…

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Published by

David O

I read and write about history from the perspective that history is not some artifact from the past but a living, breathing condition we inhabit every moment of our lives, or as William Faulkner once observed, "The past is never dead. It's not even past." I read original source materials, such as every issue of The New Yorker, not only as a way to understand a time from a particular perspective, but to also use the source as an aggregator of various historic events. I welcome comments, criticisms, corrections and insights as I stumble along through the century.

One thought on “That Sad Young Man”

  1. For the New Yorker to entitle a 1926 profile of Scott Fitzgerald “That Sad Young Man”
    was to promote Fitzgerald’s hand-picked short story anthology published that year:
    “All The Sad Young Men.”

    The saddest thing about publishing in 1926 was that the New Yorker could not
    afford to publish any of Mr. Fitzgerald’s short stories.

    Like

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