F. Scott Fitzgerald (1922) — a caddy who quits, a girl on a golf course, and the price of getting everything you wanted.
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Before we read, let's unlock the words you'll need. Think first — the Reveal only confirms.
Read each sentence aloud and say what the bold word means from the rest of the sentence. Then reveal.
You know one form of the word. Say the form the sentence needs, then reveal.
One sentence, three options. Say a, b or c — then reveal.
Fitzgerald's own text, cut hard — the original is three times this length. Read each part; after it, try the quick check from memory, then talk about the question.
Some of the caddies were poor as sin and lived in one-room houses with a neurasthenic cow in the front yard, but Dexter Green's father owned the second best grocery-store in Black Bear—the best one was "The Hub," patronized by the wealthy people from Sherry Island—and Dexter caddied only for pocket-money.
In the fall when the days became crisp and gray, and the long Minnesota winter shut down like the white lid of a box, Dexter's skis moved over the snow that hid the fairways of the golf course. At these times the country gave him a feeling of profound melancholy—it offended him that the links should lie in enforced fallowness, haunted by ragged sparrows for the long season. It was dreary, too, that on the tees where the gay colors fluttered in summer there were now only the desolate sand-boxes knee-deep in crusted ice. When he crossed the hills the wind blew cold as misery, and if the sun was out he tramped with his eyes squinted up against the hard dimensionless glare.
And one day it came to pass that Mr. Jones—himself and not his ghost—came up to Dexter with tears in his eyes and said that Dexter was the — best caddy in the club, and wouldn't he decide not to quit if Mr. Jones made it worth his while, because every other — caddy in the club lost one ball a hole for him—regularly—
"No, sir," said Dexter decisively, "I don't want to caddy any more." Then, after a pause: "I'm too old."
"You're not more than fourteen. Why the devil did you decide just this morning that you wanted to quit? You promised that next week you'd go over to the State tournament with me."
"I decided I was too old."
Dexter handed in his "A Class" badge, collected what money was due him from the caddy master, and walked home to Black Bear Village.
The little girl who had done this was eleven—beautifully ugly as little girls are apt to be who are destined after a few years to be inexpressibly lovely and bring no end of misery to a great number of men. The spark, however, was perceptible. There was a general ungodliness in the way her lips twisted down at the corners when she smiled, and in the—Heaven help us!—in the almost passionate quality of her eyes. Vitality is born early in such women. It was utterly in evidence now, shining through her thin frame in a sort of glow.
"Well, it's certainly a nice day, Hilda," Dexter heard her say. She drew down the corners of her mouth, smiled, and glanced furtively around, her eyes in transit falling for an instant on Dexter.
Then to the nurse:
"Well, I guess there aren't very many people out here this morning, are there?"
The smile again—radiant, blatantly artificial—convincing.
Suddenly, involuntarily, he laughed, a short abrupt laugh—then, startled by himself, he turned and began to walk quickly away.
"Boy!"
Dexter stopped.
"Boy—"
Beyond question he was addressed. Not only that, but he was treated to that absurd smile, that preposterous smile—the memory of which at least a dozen men were to carry into middle age.
"We'd like to get a caddy," said the nurse. "Mrs. Mortimer Jones sent us out to play golf, and we don't know how without we get a caddy."
Here she was stopped by an ominous glance from Miss Jones, followed immediately by the smile.
"There aren't any caddies here except me," said Dexter to the nurse, "and I got to stay here in charge until the caddy-master gets here."
"Oh."
Miss Jones and her retinue now withdrew, and at a proper distance from Dexter became involved in a heated conversation, which was concluded by Miss Jones taking one of the clubs and hitting it on the ground with violence. For further emphasis she raised it again and was about to bring it down smartly upon the nurse's bosom, when the nurse seized the club and twisted it from her hands.
"You damn little mean old thing!" cried Miss Jones wildly.
The situation was resolved by the fortuitous appearance of the caddy-master, who was appealed to immediately by the nurse.
"Miss Jones is to have a little caddy, and this one says he can't go."
"Mr. McKenna said I was to wait here till you came," said Dexter quickly.
"Well, he's here now." Miss Jones smiled cheerfully at the caddy-master. Then she dropped her bag and set off at a haughty mince toward the first tee.
"Well?" The caddy-master turned to Dexter. "What you standing there like a dummy for? Go pick up the young lady's clubs."
"I don't think I'll go out to-day," said Dexter.
"You don't—"
"I think I'll quit."
The enormity of his decision frightened him. He was a favorite caddy, and the thirty dollars a month he earned through the summer were not to be made elsewhere around the lake. But he had received a strong emotional shock, and his perturbation required a violent and immediate outlet.
It is not so simple as that, either. As so frequently would be the case in the future, Dexter was unconsciously dictated to by his winter dreams.
1. Why does Dexter caddy at all, and what does he do with the long Minnesota winter?
2. What actually makes him quit, that morning, after Mr. Jones has begged him to stay?
1. Only for pocket-money — his father owns the second-best grocery store. In winter he skis over the buried golf course, filled with melancholy, and lives in his 'winter dreams' of triumph at the club.
2. An eleven-year-old girl, Judy Jones, arrives with her nurse and five new golf clubs, treats him as 'Boy', hits her club on the ground in a rage — and something in him is so shaken that he hands in his badge rather than carry her bag.
He made money. It was rather amazing. After college he went to the city from which Black Bear Lake draws its wealthy patrons. When he was only twenty-three and had been there not quite two years, there were already people who liked to say: "Now there's a boy—" All about him rich men's sons were peddling bonds precariously, or investing patrimonies precariously, or plodding through the two dozen volumes of the "George Washington Commercial Course," but Dexter borrowed a thousand dollars on his college degree and his confident mouth, and bought a partnership in a laundry.
When he was twenty-three Mr. Hart—one of the gray-haired men who like to say "Now there's a boy"—gave him a guest card to the Sherry Island Golf Club for a week-end. So he signed his name one day on the register, and that afternoon played golf in a foursome with Mr. Hart and Mr. Sandwood and Mr. T. A. Hedrick.
Then, because of a ball Mr. Hart lost near the fifteenth green, an enormous thing happened. While they were searching the stiff grasses of the rough there was a clear call of "Fore!" from behind a hill in their rear. And as they all turned abruptly from their search a bright new ball sliced abruptly over the hill and caught Mr. T. A. Hedrick in the abdomen.
"By Gad!" cried Mr. T. A. Hedrick, "they ought to put some of these crazy women off the course. It's getting to be outrageous."
A head and a voice came up together over the hill:
"Do you mind if we go through?"
"You hit me in the stomach!" declared Mr. Hedrick wildly.
"Did I?" The girl approached the group of men. "I'm sorry. I yelled 'Fore!'"
As she took her stance for a short mashie shot, Dexter looked at her closely. She wore a blue gingham dress, rimmed at throat and shoulders with a white edging that accentuated her tan. The quality of exaggeration, of thinness, which had made her passionate eyes and down-turning mouth absurd at eleven, was gone now. She was arrestingly beautiful. The color in her cheeks was centred like the color in a picture—it was not a "high" color, but a sort of fluctuating and feverish warmth, so shaded that it seemed at any moment it would recede and disappear. This color and the mobility of her mouth gave a continual impression of flux, of intense life, of passionate vitality—balanced only partially by the sad luxury of her eyes.
Dexter put on his bathing-suit and swam out to the farthest raft, where he stretched dripping on the wet canvas of the spring-board.
A low, pale oblong detached itself suddenly from the darkness of the Island, spitting forth the reverberate sound of a racing motor-boat.
"Who's that?" she called, shutting off her motor. She was so near now that Dexter could see her bathing-suit, which consisted apparently of pink rompers.
"Aren't you one of those men we played through this afternoon?" she demanded.
He was.
"Well, do you know how to drive a motor-boat? Because if you do I wish you'd drive this one so I can ride on the surf-board behind. My name is Judy Jones"—she favored him with an absurd smirk—rather, what tried to be a smirk, for, twist her mouth as she might, it was not grotesque, it was merely beautiful—"and I live in a house over there on the Island, and in that house there is a man waiting for me. When he drove up at the door I drove out of the dock because he says I'm his ideal."
There was a fish jumping and a star shining and the lights around the lake were gleaming. Dexter sat beside Judy Jones and she explained how her boat was driven.
"It's awful cold," she shouted. "What's your name?"
He told her.
"Well, why don't you come to dinner to-morrow night?"
His heart turned over like the fly-wheel of the boat, and, for the second time, her casual whim gave a new direction to his life.
His mother's name had been Krimslich. She was a Bohemian of the peasant class and she had talked broken English to the end of her days. Her son must keep to the set patterns.
At a little after seven Judy Jones came down-stairs. She wore a blue silk afternoon dress, and he was disappointed at first that she had not put on something more elaborate. This feeling was accentuated when, after a brief greeting, she went to the door of a butler's pantry and pushing it open called: "You can serve dinner, Martha." He had rather expected that a butler would announce dinner, that there would be a cocktail. Then he put these thoughts behind him as they sat down side by side on a lounge and looked at each other.
Then, after dinner, she led him out on the dark sun-porch and deliberately changed the atmosphere.
"Do you mind if I weep a little?" she said.
"I'm afraid I'm boring you," he responded quickly.
"You're not. I like you. But I've just had a terrible afternoon. There was a man I cared about, and this afternoon he told me out of a clear sky that he was poor as a church-mouse. He'd never even hinted it before. Does this sound horribly mundane?"
"Let's start right," she interrupted herself suddenly. "Who are you, anyhow?"
For a moment Dexter hesitated. Then:
"I'm nobody," he announced. "My career is largely a matter of futures."
"Are you poor?"
"No," he said frankly, "I'm probably making more money than any man my age in the Northwest. I know that's an obnoxious remark, but you advised me to start right."
There was a pause. Then she smiled and the corners of her mouth drooped and an almost imperceptible sway brought her closer to him, looking up into his eyes.
It did not take him many hours to decide that he had wanted Judy Jones ever since he was a proud, desirous little boy.
1. How does Dexter make his money, and how does he come to be on the golf course as a guest at twenty-three?
2. What happens on the raft, and what does Judy ask him at dinner?
1. He borrows a thousand dollars on his degree and 'his confident mouth', buys into a laundry, and specialises in washing rich men's golf stockings; by twenty-seven he owns the biggest chain in the region. Mr. Hart, one of the men who 'believed in him', gives him a weekend guest card.
2. Judy Jones roars up in a motor-boat, makes him drive it while she surfs behind, and asks him to dinner. On the sun-porch she says she has just been told a man she cared for is poor; then: 'Who are you, anyhow?' He says he is nobody — and that he is probably making more money than any man his age in the Northwest.
It began like that—and continued, with varying shades of intensity, on such a note right up to the dénouement.
There was all the ecstasy of an engagement about it, sharpened by his realization that there was no engagement. It was during those three days that, for the first time, he had asked her to marry him. She said "maybe some day," she said "kiss me," she said "I'd like to marry you," she said "I love you"—she said—nothing.
Eighteen months after he first met Judy Jones he became engaged to another girl. Her name was Irene Scheerer, and her father was one of the men who had always believed in Dexter. Irene was light-haired and sweet and honorable, and a little stout, and she had two suitors whom she pleasantly relinquished when Dexter formally asked her to marry him.
Summer, fall, winter, spring, another summer, another fall—so much he had given of his active life to the incorrigible lips of Judy Jones. She had treated him with interest, with encouragement, with malice, with indifference, with contempt.
That was in October, when he was twenty-five. In January, Dexter and Irene became engaged. It was to be announced in June, and they were to be married three months later.
May at last. Dexter walked the streets at night when the darkness was damp as rain, wondering that so soon, with so little done, so much of ecstasy had gone from him. He knew that Irene would be no more than a curtain spread behind him, a hand moving among gleaming tea-cups, a voice calling to children ... fire and loveliness were gone, the magic of nights and the wonder of the varying hours and seasons ... slender lips, down-turning, dropping to his lips and bearing him up into a heaven of eyes.... The thing was deep in him. He was too strong and alive for it to die lightly.
In the middle of May when the weather balanced for a few days on the thin bridge that led to deep summer he turned in one night at Irene's house. Their engagement was to be announced in a week now—no one would be surprised at it. And to-night they would sit together on the lounge at the University Club and look on for an hour at the dancers. It gave him a sense of solidity to go with her—she was so sturdily popular, so intensely "great."
He mounted the steps of the brownstone house and stepped inside.
"Irene," he called.
Mrs. Scheerer came out of the living-room to meet him.
"Dexter," she said, "Irene's gone up-stairs with a splitting headache. She wanted to go with you but I made her go to bed."
Returning to the University Club, where he had rooms, he stood in the doorway for a moment and watched the dancers. He leaned against the door-post, nodded at a man or two—yawned.
"Hello, darling."
The familiar voice at his elbow startled him. Judy Jones had left a man and crossed the room to him—Judy Jones, a slender enamelled doll in cloth of gold: gold in a band at her head, gold in two slipper points at her dress's hem. The fragile glow of her face seemed to blossom as she smiled at him. A breeze of warmth and light blew through the room. His hands in the pockets of his dinner-jacket tightened spasmodically. He was filled with a sudden excitement.
"When did you get back?" he asked casually.
"Come here and I'll tell you about it."
She turned and he followed her.
She turned in the doorway.
"Have you a car here? If you haven't, I have."
"I have a coupé."
"Have you missed me?" she asked suddenly.
"Everybody missed you."
He wondered if she knew of Irene Scheerer. She had been back only a day—her absence had been almost contemporaneous with his engagement.
"I'm awfully tired of everything, darling." She called every one darling, endowing the endearment with careless, individual comraderie. "I wish you'd marry me."
The directness of this confused him. He should have told her now that he was going to marry another girl, but he could not tell her. He could as easily have sworn that he had never loved her.
"I think we'd get along," she continued, on the same note, "unless probably you've forgotten me and fallen in love with another girl."
"Of course you could never love anybody but me," she continued, "I like the way you love me. Oh, Dexter, have you forgotten last year?"
"No, I haven't forgotten."
"Neither have I!"
"I wish we could be like that again," she said, and he forced himself to answer:
"I don't think we can."
Then, as he turned up the street that led to the residence district, Judy began to cry quietly to herself. He had never seen her cry before.
"I'm more beautiful than anybody else," she said brokenly, "why can't I be happy?" Her moist eyes tore at his stability—her mouth turned slowly downward with an exquisite sadness: "I'd like to marry you if you'll have me, Dexter. I suppose you think I'm not worth having, but I'll be so beautiful for you, Dexter."
"Won't you come in?" He heard her draw in her breath sharply.
Waiting.
"All right," his voice was trembling, "I'll come in."
It was strange that neither when it was over nor a long time afterward did he regret that night. Looking at it from the perspective of ten years, the fact that Judy's flare for him endured just one month seemed of little importance. Nor did it matter that by his yielding he subjected himself to a deeper agony in the end and gave serious hurt to Irene Scheerer and to Irene's parents, who had befriended him. There was nothing sufficiently pictorial about Irene's grief to stamp itself on his mind.
It took place in New York, where he had done well—so well that there were no barriers too high for him. He was thirty-two years old, and, except for one flying trip immediately after the war, he had not been West in seven years. A man named Devlin from Detroit came into his office to see him in a business way, and then and there this incident occurred, and closed out, so to speak, this particular side of his life.
"So you're from the Middle West," said the man Devlin with careless curiosity. "That's funny—I thought men like you were probably born and raised on Wall Street. You know—wife of one of my best friends in Detroit came from your city. I was an usher at the wedding."
"Judy Simms," said Devlin with no particular interest; "Judy Jones she was once."
"Yes, I knew her." A dull impatience spread over him. He had heard, of course, that she was married—perhaps deliberately he had heard no more.
"Awfully nice girl," brooded Devlin meaninglessly, "I'm sort of sorry for her."
"Why?" Something in Dexter was alert, receptive, at once.
"Oh, Lud Simms has gone to pieces in a way. I don't mean he ill-uses her, but he drinks and runs around—-"
"Doesn't she run around?"
"No. Stays at home with her kids."
"Oh."
"She's a little too old for him," said Devlin.
"Too old!" cried Dexter. "Why, man, she's only twenty-seven."
He was possessed with a wild notion of rushing out into the streets and taking a train to Detroit. He rose to his feet spasmodically.
"Go on, then. Go on."
"What do you mean?"
"About Judy Jones."
Devlin looked at him helplessly.
"Well, that's—I told you all there is to it. He treats her like the devil. Oh, they're not going to get divorced or anything. When he's particularly outrageous she forgives him. In fact, I'm inclined to think she loves him. She was a pretty girl when she first came to Detroit."
A pretty girl! The phrase struck Dexter as ludicrous.
"Isn't she—a pretty girl, any more?"
"Oh, she's all right."
"Look here," said Dexter, sitting down suddenly, "I don't understand. You say she was a 'pretty girl' and now you say she's 'all right.' I don't understand what you mean—Judy Jones wasn't a pretty girl, at all. She was a great beauty. Why, I knew her, I knew her. She was—"
A sort of dulness settled down upon Dexter. For the first time in his life he felt like getting very drunk. He knew that he was laughing loudly at something Devlin had said, but he did not know what it was or why it was funny. When, in a few minutes, Devlin went he lay down on his lounge and looked out the window at the New York sky-line into which the sun was sinking in dull lovely shades of pink and gold.
He had thought that having nothing else to lose he was invulnerable at last—but he knew that he had just lost something more, as surely as if he had married Judy Jones and seen her fade away before his eyes.
The dream was gone. Something had been taken from him. In a sort of panic he pushed the palms of his hands into his eyes and tried to bring up a picture of the waters lapping on Sherry Island and the moonlit veranda, and gingham on the golf-links and the dry sun and the gold color of her neck's soft down. And her mouth damp to his kisses and her eyes plaintive with melancholy and her freshness like new fine linen in the morning. Why, these things were no longer in the world! They had existed and they existed no longer.
For the first time in years the tears were streaming down his face. But they were for himself now. He did not care about mouth and eyes and moving hands. He wanted to care, and he could not care. For he had gone away and he could never go back any more. The gates were closed, the sun was gone down, and there was no beauty but the gray beauty of steel that withstands all time. Even the grief he could have borne was left behind in the country of illusion, of youth, of the richness of life, where his winter dreams had flourished.
"Long ago," he said, "long ago, there was something in me, but now that thing is gone. Now that thing is gone, that thing is gone. I cannot cry. I cannot care. That thing will come back no more."
1. What does Dexter give up for Judy, and what does it get him?
2. What does Devlin tell him in New York seven years later, and why does it destroy him?
1. Two years of his life, and then Irene Scheerer — sweet, honourable, engaged to him — whom he abandons the night Judy comes back in cloth of gold and says 'I wish you'd marry me'. Judy's interest lasts one month.
2. That Judy is married to a man who drinks and runs around, stays home with her kids, and has 'faded' — 'she's all right', 'she has nice eyes'. Dexter realises the beauty he lost no longer exists anywhere, and that he can no longer feel anything about it: 'the dream was gone'.
This is a story told from ten years later, by a man who cannot cry. Every paragraph looks back. English has a small, powerful set of structures for that backward look — and Dexter uses none of them, which is his tragedy. You will.
Complete each regret. Read it aloud as the character would say it — if they could.
1. Dexter wishes he (never / hand in) his caddy badge that morning.
2. If only Judy (tell) him honestly what she wanted!
3. Irene wishes Dexter (not / drive) away with Judy that night in May.
4. If only he (not / go) to the raft — he would still have his dreams.
5. He wishes Devlin (keep) his mouth shut.
1. had never handed in
2. had told
3. hadn't (had not) driven
4. hadn't (had not) gone
5. had kept
Choose the one the meaning needs. Careful: needn't have means it happened and was unnecessary.
1. Dexter (tell) Judy about Irene in the car — but he couldn't.
2. He (give) Judy two years; she gave him a month.
3. Judy (wear) cloth of gold to win him back — a word would have done it.
4. Devlin (say) 'she's all right' to a man who once loved her.
5. Dexter (stay) a caddy — he was the best in the club.
1. should have told
2. shouldn't have given
3. needn't have worn
4. shouldn't have said
5. should have stayed (arguably — the story leaves it open)
Fill each gap with the form the hint asks for. Then read it aloud as the speech Dexter would make if he could still cry.
1. I wish I (wish / not / quit) that morning. I (should / carry) her clubs and gone home and forgotten her. If only I (if only / not / swim) out to that raft. I (needn't / break) Irene's heart — Judy (should / never / come) back at all. I (would rather / stay) poor. But it (be) too late for all of it, years ago.
1. hadn't quit · should have carried · hadn't swum · needn't have broken · should never have come · would rather have stayed · was
Now say the last line of the story after it — 'I cannot cry. I cannot care.' — and notice what regret needs that Dexter no longer has.
In the Speak tab you'll say the regrets the characters cannot — and decide whether Dexter's tragedy is what he lost or what he stopped being able to feel.
Fitzgerald wrote 'Winter Dreams' in 1922, aged twenty-six, and called it 'a sort of first draft of the Gatsby idea': a poor boy from the provinces, a golden girl, money made fast, and a dream that survives everything except being fulfilled. The Minnesota lake is real — White Bear Lake, where the Fitzgeralds summered — and so is the caddy; Fitzgerald's own mother, like Dexter's, was the child of immigrants, and he never stopped feeling like a trespasser among the rich he wrote about.
The trick of the story is that Dexter gets everything. He is not defeated; he is 'so successful that there were no barriers too high for him'. What he loses is not Judy — he never had her — but the capacity to want, which was the only thing the winter dreams were ever made of. When Devlin says 'she's all right', the beauty that gave Dexter's whole life its direction is revealed to have been temporary, ordinary, and mostly imagined. Fitzgerald's last sentences are among the coldest in American fiction: a rich man on a lounge, crying for himself, because he cannot cry for anyone else.
This is the heart of the lesson — do all three out loud. The timer is there to keep you going: fill the time with detail rather than escaping it.
Tell 'Winter Dreams' to someone who has never read it. Move through the arc: the caddy and the winter → the eleven-year-old with the golf club → the laundries → the raft and the motor-boat → 'Who are you?' → two years of Judy → Irene → the night in May → New York, Devlin, 'she's all right'.
Use at least three regret structures to say what the characters should or shouldn't have done, and at least five key words (melancholy, trespasser, petulance, indignity, unprincipled, invulnerable, incorrigible, glittering, surfeit, illusion).
Everyone blames Judy Jones. Defend her: she is twenty, beautiful, surrounded by men who want to own her, and honest about it — 'I don't know what's the matter with me'. Then prosecute her for one minute: the picnic, the yawning, 'I'd like to marry you if you'll have me', the month.
Tell a story — real, famous or invented — about someone who got exactly what they dreamed of and found it empty, or found they could no longer feel it. Use regret and hindsight structures to say what they should have done differently — or whether anything would have helped.
Stuck for an idea? Pick one of these and run with it: