And just above, you can hear Reed himself read the story aloud, savoring those lyrical sentences in his Brooklyn deadpan. We're hoping to rely on our loyal readers rather than erratic ads. To support Open Culture's continued operation, please consider making a donation. We thank you! It showed in his music.

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John Updike once said: 'I became a writer very young - one of those things where you get what you hope for and live with the consequences. The son of Jewish immigrants, Schwartz was born in Brooklyn in His father was an exuberant huckster, who made and lost a fortune, and his mother was a deeply erratic paranoid.

Their marriage was a catastrophe. Schwartz was a precocious teenager, an ardent and passionate reader who, by the time he was 20, had read all of the modernists and most of the philosophers, too. He was only 23 in when his marvellous first story, 'In Dreams Begin Responsibilities', was published in the Partisan Review, which was then one of the most influential political and cultural magazines in America.

This shock of recognition has much to do with the way Schwartz wrote about the Jewish immigrant experience in New York.

The precursor of Saul Bellow, Philip Roth and Bernard Malamud, Schwartz wrote of the strivings of clever, cultured young men who were intoxicated by the boundless potential of America but who, at the same time, were often ashamed of their ancestral inheritance and of how 'their parents spoke broken English or a foreign tongue', as Shenandoah Fish Schwartz's fictional alter-ego observes here in the story 'America!

He watches as his anxious father arrives too early for a date at the house of the girl who will become his wife. He follows the young couple as they travel out to Coney Island and watches as the young man proposes marriage in a scene of gentle comedy. At which point, the narrator rises from his seat and, in distress, shouts out: 'Don't do it. It's not too late to change your minds, both of you. Nothing good will come of it, only remorse, hatred, scandal, and two children whose characters are monstrous.

Schwartz progressed to become one of the young stars of the Partisan Review and, more generally, of literary New York. He published more stories, poems, essays and reviews. Everyone wanted to know him. But he never fulfilled his early promise, never wrote the great work of which he believed himself capable - his attempt at that great work, a long, autobiographical poem called Genesis was a grotesque self-indulgence.

In truth, Schwartz was consumed and then destroyed by frustrated ambition. On the morning of his thirtieth birthday, he wrote in his journal: 'Too late, already too late. One of Saul Bellow's greatest novels, Humboldt's Gift , is, in part, a subtle meditation on the defeated aspirations of Schwartz. Bellow once described seeing the aged Schwartz emerge dishevelled and probably drunk from his New York apartment. Rather than speak to his former friend, Bellow hid behind a car to avoid him. In the novel, this encounter is reimagined with considerable pathos as the Schwartz figure is portrayed stumbling towards death.

His lunch. Concealed by a parked car, I watched. I didn't approach him, I felt it was impossible. Bellow was not alone in finding it impossible to approach Schwartz towards the end of his life.

Neurotic, alcoholic, drug-dependent, twice divorced, impecunious, he had become an embarrassment to all who knew him. Yet those who met Schwartz never forgot him or the brilliant boy he had been. They never forgot the turbulent intensity of his conversation or his belief in books and the dignity of the writing life. Lou Reed, who dedicated his song 'European Son' to Schwartz, recently recalled how, as a young student in upstate New York, he had met the writer whom he describes as 'my teacher, friend, and the person who changed my life, the smartest, funniest, saddest person I'd ever met'.

It was a bad time in Schwartz's life; the best was far behind him. Yet there was an immediate intimacy between them. Schwartz, Reed said, showed him how 'to take a poet or novelist's approach to songs, so the lyrics could stand alone but with the fun of the two guitars, bass and drums to enhance them'.

Delmore Schwartz spent the last years of his life beginning stories that he would never complete. His broken life always got in the way of his work, but it was his work - his fiction, his poems, his essays - that mattered most to him.

He eventually died alone and largely forgotten in a midtown Manhattan hotel in His body was taken to the local morgue, where it remained unidentified for the next three days. Many of the stories in this fine collection have a strange clairvoyance; they are dark with the threat of imminent catastrophe: such as the guest at a New York literary party who, in the story 'New Year's Eve', observes of the young writer Shenandoah: 'One day, he will fall flat on his face. Schwartz once remarked how the ideas of success and failure 'are the two most important things in America'.

It was true that he wanted success above all else. But, in the end, what was most striking about him - his extreme precocity - was also his undoing. Schwartz may have been 'the poet of the historical moment', as Irving Howe said, but he did not really improve as a writer. His later fiction is flat and repetitive; his poems are simply dull. Like Scott Fitzgerald, he did his best work before he reached It could be said even that he did his best work before the age of 24, because he never wrote a finer story than 'Dreams'.

From there, it was the long road to nowhere. The Observer Classics. Coney matrimony is phoney baloney. Delmore Schwartz's precociously brilliant account of an ill-fated courtship, In Dreams Begin Responsibilities, was the peak of his career. Jason Cowley. Published on Sun 4 May Topics Classics The Observer reviews Reuse this content.


In Dreams Begin Responsibilities

The patient—that is to say, his reputation—is still alive, if not exactly well. He both loved and hated the artificially English-sounding name Delmore, and offered various explanations of its origin. In still other versions, the name was taken from a Tammany Hall club, a Pullman railroad car, or a Riverside Drive apartment house. Harry Schwartz was handsome, a successful businessman and a philanderer. The ghastly scene that followed would later be enshrined in poetry:.


The Heavy Bear: On Delmore Schwartz

Of all of Schwartz's stories, it is probably his best-known and most influential. Schwartz's biographer, James Atlas , wrote a thorough account of the story's genesis:. Schwartz wrote "In Dreams Begin Responsibilities" over a July weekend in , when he was only twenty-one. A day later, his friend William Barrett appeared at the boarding house off Washington Square where Schwartz was living that summer and found the author ecstatic; he knew he had written a masterpiece, a verdict later confirmed by Vladimir Nabokov , who singled [the story] out as one of his "half a dozen favorites" in contemporary American literature. The story was first published in in the first issue of Partisan Review. The title came from the Irish poet W.

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