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The death of John Barrymore made us think again for a minute of F. Scott Fitzgerald. They were very different men: a lot alike. Undoubtedly, they both worked hard, but there was the same sense of a difficult technique easily mastered (too easily perhaps); there was the same legend of great physical magnetism, working incessantly for its own destruction; there was the same need for public confession, either desperate or sardonic; and there was always a good deal of time wasted, usually accompanied by the sweet smell of grapes. We have seen Scott Fitzgerald when everything he said was a childish parody of his own talent, and the last time we saw John Barrymore he was busy with a sick and humiliating parody of his. The similarity probably ends there. Up to the day he died, we believe, Fitzgerald still kept his original and eager devotion to his profession, along, we like to think, with the strict confidence that he might still achieve the strict perfection that was so often almost his. Barrymore, on the other hand, had given up long ago.
--
Wolcott H. Gibbs, Season in the Sun (1951)
--
Chromaticism, trans. Romela Kohanovskaya (1996, ISBN 371865704x), Introduction, p. ix

 

John Barrymore

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Maybe it was a music box.
Scott shouldn't have felt depressed. The gadgetry would have given Einstein a headache and driven Steinmetz raving mad. The trouble was, of course, that the box had not yet completely entered the space-time continuum where Scott existed and therefore it could not be opened. At any rate, not till Scott used a convenient rock to hammer the helical nonhelix into a more convenient position.
He hammered it, in fact, from its contact point with the fourth dimension, releasing the space-time torsion it had been maintaining. There was a brittle snap. the box jarred slightly, and lay motionless, no longer only partially in existence. Scott opened it easily now.

 

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The real story of our times is seldom told in the horse-puckey-filled memoirs of dopey, self-serving presidents or generals, but in the outrageous, demented lives of guys like Lenny Bruce, Giordano Bruno, Scott Fitzgerald — and Paul Krassner. The burrs under society's saddle. The pains in the ass.

 

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Mr. [John] Barrymore’s smile was the smile of an actor who hates actors, and who knows that he is going to kill two or three before the play is over. I am not an actor-killer, but I like my Hamlets to dislike actors, if you know what I mean, and I think you don’t.

 

John Barrymore