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Fragment of Lost Novel by F. Scott Fitzgerald Found

Sunday, August 16th, 2015

Another “lost” manuscript by F. Scott Fitzgerald has turned up – a fragment of a proposed novel.

As Ron Charles reports in The Washington Post, Andrew Gulli, editor of the Strand mystery magazine, has discovered what appears to be the beginning of an unfinished novel by F. Scott Fitzgerald in the Princeton University archives. As Charles notes, “now comes tantalizing word of another novel — alas, unfinished — that’s been sitting in a box in the Princeton University library for decades — catalogued but apparently ignored.

Initially, he thought that he’d stumbled upon a lost short story, like the Fitzgerald story he found and published in the Strand a few weeks ago called Temperature. ‘There was a scene that could have stood solely as a short story,’ he says, ‘but then it went on one more paragraph, and then it just ended abruptly. And I realized, “Oh my God . . . it’s a novel.”‘

The fragment — about 2,500 words — seems to be the beginning of Ballet School — Chicago. Gulli says he knows Fitzgerald ‘was thinking about publishing this as a book’ because he also found a ‘whole outline of several chapters. I really liked it. It’s romantic. There’s a ballerina trying to make her way in Chicago. She has an attraction to a wealthy neighbor because he can get her out of this tough existence . . . and she can have a happy life with him. The story goes into the very hard training for ballet dancers. But then something quirky and unsuspected happens that changes her impression of him.’

The story may be informed by Fitzgerald’s experience with his wife, Zelda, who developed a passion for ballet as a child and pursued it throughout much of her life. Even this short fragment demonstrates Fitzgerald’s poetic care with his style. ‘He was like a real lunatic about going over things,’ Gulli says. ‘He would scratch out whole paragraphs, and in his cursive make things more economical in pencil. He was obsessive about trying to find a shorter way. He was always trying to streamline.’

Gulli says the fragment, told in the third person, ‘is just enough to feel that he was really going somewhere with the character, and he had all the other characters outlined, too. The thing that makes this so novel — forgive the pun — is that he wrote so few novels. So he must have really been captured by this idea to the point that he outlined it fully.’

Just to add a little frisson to this, here’s another recently published, previously unknown Fitzgerald story presented in The New Yorker on August 6, 2012, entitled Thank You for The Light, which you can read by clicking on the link right here.

Anything by Fitzgerald is valuable; let’s hope this sees the light of day.

Ruby Dee – Actor and Activist – Dies at 91

Friday, June 12th, 2015

Here’s a superb tribute to the great Ruby Dee by Sarah Halzack of The Washington Post.

As Ms. Halzack wrote, in part, “Ruby Dee, an actress who defied segregation-era stereotypes by landing lead roles in movies and on Broadway while maintaining a second high-profile career as a civil rights advocate, including emceeing the 1963 March on Washington, died June 11 at her home in New Rochelle, N.Y. She was 91. In a career spanning seven decades, Ms. Dee was known for a quietly commanding presence opposite powerful leading men, including Sidney Poitier, Denzel Washington and James Earl Jones.

As a young woman, she won acclaim as a chauffeur’s steadfast wife in the Broadway and film versions of A Raisin in the Sun, starring Poitier, and then earned an Academy Award nomination for her supporting role as the mother of a drug kingpin played by Washington in American Gangster (2007).

In 1965, Ms. Dee became the first black actress to perform lead roles at the American Shakespeare Festival in Stratford, Conn., playing Kate in The Taming of the Shrew and Cordelia in King Lear. Moreover, critics consistently praised Ms. Dee’s ability to make the most demanding roles seem effortless. Off-Broadway in 1970, in Athol Fugard’s Boesman and Lena, she was commended for her searing portrayal of a South African woman beaten down by society and physically abused by her husband, played by Jones.

Ms. Dee’s marriage to actor and playwright Ossie Davis was widely regarded as one of Hollywood’s most enduring and romantic, lasting 56 years, until his death in 2005. The couple’s careers were deeply intertwined as they co-starred in films such as Do the Right Thing (1989) and Jungle Fever (1991), both directed by Spike Lee; collaborated on the comedic play Purlie Victorious, which Davis wrote and in which Ms. Dee starred on Broadway in 1961; and even partnered on a memoir, With Ossie and Ruby: In This Life Together.

When Ms. Dee and Davis received Kennedy Center Honors in 2004, it was said that they opened ‘many a door previously shut tight to African American artists and planted the seed for the flowering of America’s multicultural humanity.’ In 2008, Ms. Dee described the epitaph to Jet magazine: ‘If I leave any thought behind, it is that. We were in this thing together, so let’s love each other right now. Let’s make sense of things right now. Let’s make it count somehow right now, because we are in this thing together.’”

Ruby Dee – one of the most unforgettable actors in the history of the cinema.

Audrey Totter

Saturday, December 14th, 2013

“If you haven’t got enough brains to agree with me, then keep your mouth shut. From here on in, I’m answering all the questions — got it?”

Audrey Totter, one of the great noir stars of the screen in the 1940s, has died; as Matt Schudel noted in The Washington Post, “Totter, an actress who specialized in playing temptresses, dangerous dames and women harboring dark schemes in a series of movies from Hollywood’s film noir period of the 1940s and ’50s, died Dec. 12 at a hospital in Woodland Hills, Calif. She was 95. She had congestive heart failure after a stroke, her daughter, Mea Lane, said.

Miss Totter first set the screen afire with a small but sizzling part in the 1946 noir classic The Postman Always Rings Twice [. . .] Over the next several years, Miss Totter was in demand as one of Hollywood’s sexiest and most alluring actresses, often playing cynical and malevolent women who, in the words of film historian Eddie Muller, ‘had a heart as big and warm as an ice cube.’ [. . .]

‘For years nobody bothered with me — didn’ t know who I was, didn’t care,’ she told the Toronto Star in 2000. ‘Now I’m recognized on the street, I’m asked for my autograph, I get loads of fan mail. Who knew these movies would be so popular 50 years later? Maybe it’s because the world isn’t like that anymore. The fantasy of it. They painted with light in those days, it’s a look that just isn’t done anymore.”

She acted in radio dramas before going to Hollywood and signing on as a contract player with MGM. After film noir began to fade in the 1950s, she acted in westerns and television, including a recurring role as a nurse on Medical Center in the 1970s. Miss Totter’s final acting role came in 1987, when she appeared on an episode of Angela Lansbury’s Murder, She Wrote. She continued to receive offers but seldom found anything that appealed to her.

‘What could I play?’ she asked in 2000. ‘A nice grandmother? Boring! Critics always said I acted best with a gun in my hand.’”

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at or

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