The Pat Hobby Stories Summary
by F. Scott Fitzgerald

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In Hollywood, while living out the remaining months of his life, F. Scott Fitzgerald wrote the Pat Hobby stories, a series of seventeen short stories that were published in successive issues of Esquire. The first, “Pat Hobby’s Christmas Wish,” appeared in the January 1940 issue of the magazine; the final story, “Pat Hobby’s College Days,” was published in the May 1941 issue, five months after Fitzgerald’s death on December 21, 1940.

As Fitzgerald’s contemporary protagonist, Pat Hobby is an alcoholic down-and-out motion picture screenwriter whose real career had ended long before with the arrival of “the talkies.” Unable to make the literary transition to the new medium, Hobby now lives his life on the periphery of the movie industry; he is a silent movie “structure man” who can’t write a script and won’t read a book. Hobby, however, does not see himself as a “has been.” He sees himself as an experienced writer, down on his luck but determined to regain his place in the Hollywood sun. To this end, no deed or misdeed—no matter how outrageous—is beyond Hobby’s devious imagination or beneath his non-existent principles. Pat Hobby never wins, but he never gives up. As each ill-conceived plan reaches its usually ironic and often humorously pathetic conclusion, Hobby falls into another scheme or finds himself in yet another ridiculous situation that would embarrass anyone except himself.

Pat Hobby emerges in these stories certainly as no hero to be emulated, but neither does Fitzgerald make him a villain. The author, in fact, seems emotionally detached from his character. Hobby’s daily life is presented in a straightforward narrative style; the long passages of vivid, evocative description with which Fitzgerald is so identified are missing in these stories. Hobby is generally a comic figure through whom Fitzgerald satirizes Hollywood in general and screenwriting in particular. Whatever sympathy one might feel for Hobby’s desperation is countered by his lack of scruples and outlandish behavior and by the stories’ subtle—and sometimes not so subtle—humor. When Hobby, for instance, attacks a scriptwriter with a cafeteria tray, the scene plays out on the page as slapstick comedy.

Some critics see the Pat Hobby character as an expression of Fitzgerald’s view of himself in 1940. Like his character, Fitzgerald had experience as a Hollywood screenwriter and had achieved his greatest financial success very early...

(The entire section is 600 words.)