Dear Scott:I liked it and I didn't. It started off with that marvelous description of Sara and Gerald (goddamn it Dos took it with him so I can't refer to it. So if I make any mistakes-). Then you started fooling with them, making them come from thing they didn't come from, changing them into other people and you can't do that, Scott. If you take real people and write about them you cannot give them other parents than they have (they are made by their parents and what happens to them) you cannot make them do anything they would not do. You can take you or me or Zelda or Pauline or Hadley or Sara or Gerald but you have to keep them the same and you can only make them do what they would do. You can't make one be another. Invention is the finest thing but you cannot invent anything that would not actually happen. That is what we are supposed to do when we are at our best-make it all up-but make it up so truly that later it will happen that way. Goddamn it you took liberties with peoples' pasts and futures that produced not people but damned marvellously faked case histories. You, who can write better than anybody can, who are so lousy with talent that you have to - the hell with it. Scott for gods sake write and-write truly no matter who or what it hurts but do not make these silly compromises. You could write a fine book about Gerald and Sara for instance if you knew enough about them and they would not have any feeling, except passing, if it were true.（看得出海明威很看好杰拉德的写作才华，但依然丝毫不客气的批评他身上的写作问题。） There were wonderful places and nobody else nor none of the boys can write a good one half as good reading as one that doesn't come out by you, but you cheated too damned much in this one. And you don't need to. In the first place I've always claimed that you can't think. All right, we'll admit you can think. But say you couldn't think; then you ought to write, invent, out of what you know and keep the people's antecedants straight. Second place, a long time ago you stopped listening except to the answers to your own questions. You had good stuff in too that it didn't need. That's what dries a writer up (we all dry up. That's no insult to you in person) not listening. That is where it all comes from. Seeing, listening. You see well enough. But you stop listening. It's a lot better than I say. But it's not as good as you can do. You can study Clausewitz in the field and economics and psychology and nothing else will do you any bloody good once you are writing. We are like lousy damned acrobats but we make some mighty fine jumps, bo, and they have all these other acrobats that won't jump.  For Christ sake write and don't worry about what the boys will say nor whether it will be a masterpiece nor what. I write one page of masterpiece to ninety one pages of shit. I try to put the shit in the wastebasket. You feel you have to publish crap to make money to live and let live. All write but if you write enough and as well as you can there will be the same amount of masterpiece material (as we say at Yale). You can't think well enough to sit down and write a deliberate masterpiece and if you could get rid of Seldes and those guys that nearly ruined you and turn them out as well as you can and let the spectators yell when it is good and hoot when it is not you would be all right.  Forget your personal tragedy. We are all bitched from the start and you especially have to hurt like hell before you can write seriously. But when you get the damned hurt use it - don't cheat with it. Be as faithful to it as a scientist-but don't think anything is of any importance because it happens to you or anyone belonging to you.  About this time I wouldn't blame you if you gave me a burst. Jesus it's marvellous to tell other people how to write, live, die etc.  I'd like to see you and talk about things with you sober. You were so damned stinking in