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7 of 7 people found the following review helpful:
5.0 out of 5 stars
Hollywood Without The Glamour and Glitz, October 17, 2001
Pat Hobby, once a successful Hollywood screenwriter, is nothing more than a pathetic has been. Broke, tired, and scrambling to find work, Pat takes on some unconventional methods to fill his pockets and put his name back on the big screen. But things don't turn out as smooth as Pat hopes. After all, as Pat himself repeatedly states, "I'm just a writer," and, "it's a dog's life." Pat's antics backfire and in almost every story he is left with nothing but humiliation. The Pat Hobby stories were written between 1939 and 1940, when Fitzgerald himself was struggling to keep afloat in Hollywood. Fitzgerald paints the Hollywood scene as cold, calculating, and manipulative. A place where kissing up is more important than the quality of your talents, a place where the writer gets no respect, and a place that most likely today harbors the same attitude that Fitzgerald so deftly described in his final days. In reading the Pat Hobby Stories, one can feel Fitzgerald's own sense of poor self-worth, despair, and hopelessness. Yet ironically, a twist of dark humor is thrown into the stories, evoking in the reader an ambiguous response of laughing at Pat Hobby while pitying him at the same time. This collection is not only entertaining and easy to read, but is one that will give you broader insight into the late great F. Scott Fitzgerald.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
More Heartbreak from the Dream Dump, August 14, 2003
Most people know F. Scott Fitzgerald as one of the deans of the lost generation and an icon of the jazz-age. But toward the end of his life, in the late 1930's, Fitzgerald was also a writer for MGM studios, and these stories represent vividly and tragically this period of his life. Through the eyes of Fitzgerald's Pat Hobby, Hollywood hack writer, we see a different side of golden age tinseltown, where an extraordinary number of talented writers and artists migrated to in the 1930's and 40's, only to butt their heads against militant mediocrity and the "studio system." As an archetype, Pat Hobby stands in for them brilliantly. Also recommended: What Makes Sammy Run? by Budd Schulberg, The Day of the Locust by Nathanael West, and The Player by Michael Tolkin.
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2 of 2 people found the following review helpful:
4.0 out of 5 stars
Fitzgerald's Pat Hobby, August 30, 2006
Fitzgerald's early fiction often deals with the case of the young man who harbors elaborate and perhaps outlandish aspirations for success. In the Pat Hobby stories -- Fitzgerald's last published work -- we see depicted a 49-year-old man whose dreams have collided with a bleak reality. Years after his brief heyday as a well-paid film writer in the days of silent films, he is now quite simply a failure. And yet Pat Hobby is a unique type of loser, one who sympathizes with the bosses and moguls rather than his fellow downtrodden peers at the bottom of the totem pole. Witness for example the startling scene in which Hobby, with righteous indignation, takes a lunch tray to attack an extra who had the audacity to sit at the VIP table in the studio canteen and refused to move. This scene offers a fascinating insight into Fitzgerald's own psychology, if one views Hobby as an alter ego for the author, while also raising broader questions about American culture. "A Patriotic Short" is the story which best encapsulates these questions, as Hobby bitterly reflects on the contrast between his illustrious past, when he had a house with a swimming pool that was once admired by the President himself, and his current menial assignment editing a lame film script. Here, in just a few pages, Fitzgerald deftly weaves together the American obsessions with celebrity, the presidency, and of course the swimming pool, into a commentary on the idea of success itself. Any mention of a swimming pool by Fitzgerald evokes the sad fate of Jay Gatsby. And though we might find Hobby a less sympathetic character than Gatsby, in many ways he represents the other side of the same debased coin. Both are tragic figures, equally unable to fulfill their dreams of glamour, and perhaps both equally the victims of the American ethos of success.
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