Jay Gatsby
Jay Gatsby | |
---|---|
The Great Gatsby character | |
First appearance | The Great Gatsby (1925) |
Created by | F. Scott Fitzgerald |
Based on | Max Gerlach[1] |
Portrayed by | See list |
In-universe information | |
Full name | James Gatz (birth name) |
Alias | Jay Gatsby |
Gender | Male |
Occupation |
|
Family | Henry C. Gatz (father) |
Significant other | Lutheran[3] |
Origin | North Dakota[4] |
Nationality | American |
Jay Gatsby (originally named James Gatz) is the titular fictional character of
The character of Jay Gatsby has been analyzed by scholars for many decades and has given rise to a number of critical interpretations. Scholars posit that Gatsby functions as a
A century after the novel's publication in April 1925, Gatsby has become a
The character has appeared in various media adaptations of the novel, including stage plays, radio shows, video games, and feature films. Canadian-American actor James Rennie originated the role of Gatsby on the stage when he headlined the 1926 Broadway adaptation of Fitzgerald's novel at the Ambassador Theatre in New York City.[17] He repeated the role for 112 performances.[17] That same year, screen actor Warner Baxter played the role in the lost 1926 silent film adaptation.[18] During the subsequent decades, the role has been played by many actors including Alan Ladd, Kirk Douglas, Robert Ryan, Robert Redford, Leonardo DiCaprio, and others.
Inspiration for the character
After the publication and commercial success of his debut novel
While living in New York, writer F. Scott Fitzgerald's enigmatic neighbor was
"They're a rotten crowd," I shouted across the lawn. "You're worth the whole damn bunch put together."
I've always been glad I said that. It was the only compliment I ever gave him, because I disapproved of him from beginning to end.
—F. Scott Fitzgerald, Chapter VIII, The Great Gatsby[40]
Mirroring Gerlach's background, Fitzgerald's fictional creation of James Gatz has a Germanic surname,
Due to Gatsby's nouveau riche background and indeterminate class status, Fitzgerald viewed the character to be a contemporary Trimalchio,[g] the crude upstart in Petronius's Satyricon, and even refers to Gatsby as Trimalchio once in the novel.[43] Unlike Gatsby's spectacular parties, Trimalchio participated in the orgies he hosted, although the characters are otherwise similar.[44] Intent on emphasizing the connection to Trimalchio, Fitzgerald entitled an earlier draft of the novel as Trimalchio in West Egg.[45] Fitzgerald's editor, Maxwell Perkins, convinced the author to abandon his original title of Trimalchio in West Egg in favor of The Great Gatsby.[46]
Following The Great Gatsby's publication in April 1925, Fitzgerald was dismayed that many literary critics misunderstood the novel,[47] and he resented the fact that they failed to perceive the many parallels between the author's own life and his fictional character of Jay Gatsby; in particular, that both created a mythical version of themselves and attempted to live up to this legend.[48]
Fictional character biography
Born circa 1890
In 1907, a 17-year-old Gatz traveled to
In 1917, after the United States' entrance into World War I, Gatsby enlisted as a doughboy[a] in the American Expeditionary Forces.[61] During infantry training at Camp Taylor near Louisville, Kentucky, 27-year-old Gatsby met and fell deeply[k] in love with 18-year-old debutante Daisy Fay.[d][66] Dispatched to Europe, Gatsby attained the rank of Major in the U.S. 7th Infantry Regiment[l] of the 3rd Division and garnered decorations for extraordinary valor during the Meuse–Argonne offensive in 1918.[67][68][69]
After the
With dreams of amassing immense wealth, a penniless Gatsby settled in
In 1922,
Only Gatsby, the man who gives his name to this book, was exempt from my reaction—Gatsby, who represented everything for which I have an unaffected scorn. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life.... It was an extraordinary gift for hope, a romantic readiness such as I have never found in any other person and which it is not likely I shall ever find again. No—Gatsby turned out all right at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams....
—F. Scott Fitzgerald, Chapter I, The Great Gatsby[97]
Soon after, Gatsby accompanied Daisy and her husband to
At a hotel suite in the twenty-story Plaza Hotel, Tom confronted Gatsby over his ongoing affair with his wife in the presence of Daisy, Carraway, and Baker.[107] Gatsby urged Daisy to disavow her love for Tom and to declare that she had only married Tom for his money.[108] Daisy asserted that she loved both Tom and Gatsby.[109] Leaving the hotel, Daisy departed with Gatsby in his yellow Rolls-Royce while Tom departed in his car with Baker and Carraway.[110]
While driving Gatsby's car on the return trip to East Egg, Daisy struck and killed—either intentionally or unintentionally—her husband's mistress Myrtle standing in the highway.[111] At Daisy's house in East Egg, Gatsby assured Daisy he would take the blame if they were caught. The next day, Tom informed George that it was Gatsby's car that killed Myrtle.[112] Visiting Gatsby's mansion, George killed Gatsby with a revolver while he was relaxing in his swimming pool and then committed suicide by shooting himself with the revolver.[113]
Despite the many flappers and sheiks[v] who frequented Gatsby's lavish parties on a weekly basis, only one reveler referred to as "Owl-Eyes" attended Gatsby's funeral.[116] Also present at the funeral were bond salesman Nick Carraway and Gatsby's father Henry C. Gatz, who stated his pride in his son's achievement as a self-made millionaire.[117]
Gatsby as a reference point
The character of Jay Gatsby has become a cultural
The character is often evoked as an indicator of
Expanding upon Mizener's thesis, scholar
The term "Gatsby" is also often used in the United States to refer to real-life figures who have reinvented themselves; in particular, wealthy individuals whose rise to prominence involved an element of deception or self-mythologizing. In a 1986
In more recent years, Gatsby's voracious pursuit of wealth has been referenced by scholars as exemplifying the perils of
Musical leitmotif
Both the character of Jay Gatsby and Fitzgerald's novel have been linked to composer George Gershwin's 1924 song Rhapsody in Blue.[129] As early as 1927, writer F. Scott Fitzgerald opined that Rhapsody in Blue idealized the youthful zeitgeist of the Jazz Age.[130] In subsequent decades, both the latter era and Fitzgerald's literary works were often linked by critics and scholars with Gershwin's composition.[131] In 1941, historian Peter Quennell opined that Fitzgerald's novel The Great Gatsby embodied "the sadness and the remote jauntiness of a Gershwin tune".[132]
Accordingly, Rhapsody in Blue was used as a dramatic leitmotif for the character of Jay Gatsby in the 2013 film The Great Gatsby, the fourth cinematic adaptation of Fitzgerald's 1925 novel.[133][134] Various writers such as the American playwright and critic Terry Teachout have likened Gershwin himself to the character of Gatsby due to his attempt to transcend his lower-class background, his abrupt meteoric success, and his early death while in his thirties.[131]
Portrayals
Stage
The first individual to portray the role of Jay Gatsby was 37-year-old James Rennie, a stage actor who headlined the 1926 Broadway adaptation of Fitzgerald's novel at the Ambassador Theatre in New York City.[17] As "a handsome Canadian with a good voice",[17] Rennie's portrayal of Gatsby was met with rave reviews from theater critics.[17] He repeated the role for 112 performances and then paused when he had to voyage to England due to an ailing family member.[17] After returning from England, he continued to appear as Gatsby when the stage play embarked upon a successful nation-wide tour.[17] As Fitzgerald was vacationing in Europe at the time, he never saw the 1926 Broadway play,[17] but his agent Harold Ober sent him telegrams which quoted the many positive reviews of the production.[17]
Film
A number of actors later portrayed Jay Gatsby in cinematic adaptations of Fitzgerald's novel. Warner Baxter played the role in the lost 1926 silent film.[18] Although the film received mixed reviews,[135] Warner Baxter's portrayal of Gatsby was praised by several critics,[18][135] although other critics found his acting to be overshadowed by Lois Wilson as Daisy.[135] Purportedly, F. Scott Fitzgerald and his wife Zelda Sayre loathed the 1926 film adaptation of his novel and stormed out midway through a viewing of the film at a cinema.[136] "We saw The Great Gatsby at the movies," Zelda wrote to an acquaintance in 1926, "It's ROTTEN and awful and terrible and we left."[137]
Nearly a decade after Fitzgerald's death by a heart attack in 1940, Gatsby was portrayed by Oklahoma actor Alan Ladd in the 1949 film adaptation.[138] Ladd's Gatsby was criticized by Bosley Crowther of The New York Times who felt that Ladd was overly solemn in the title role and gave the impression of "a patient and saturnine fellow who is plagued by a desperate love".[139] The film's producer Richard Maibaum claimed that he cast Ladd as Gatsby based on the actor's rags-to-riches similarity to the character:
"I was in his house and he took me up to the second floor, where he had a wardrobe about as long as this room. He opened it up and there must have been hundreds of suits, sport jackets, slacks and suits. He looked at me and said, 'Not bad for an Okie kid, eh?'... I remembered when Gatsby took Daisy to show her his mansion, he also showed her his wardrobe and said, 'I've got a man in England who buys me clothes. He sends over a selection of things at the beginning of each season, spring and fall.' I said to myself, 'My God, he is the Great Gatsby.'"[138]
In 1974, Robert Redford portrayed Gatsby in a film adaptation that year.[140] Film critic Roger Ebert of the Chicago Sun-Times believed that Redford was "too substantial, too assured, even too handsome" as Gatsby and would have been better suited in the role of antagonist Tom Buchanan.[141] Likewise, film critic Gene Siskel of the Chicago Tribune criticized Redford's interpretation of Gatsby as merely a "shallow pretty boy".[142] Siskel declared there was little resemblance between Redford's suave portrayal and the ambitious parvenu in the novel.[142]
In more recent decades, Leonardo DiCaprio played the role in director Baz Luhrmann's 2013 film adaptation.[136] In a 2011 interview with Time magazine prior to the film's production, DiCaprio explained he was attracted to the role of Gatsby due to the idea of portraying "a man who came from absolutely nothing, who created himself solely from his own imagination. Gatsby's one of those iconic characters because he can be interpreted in so many ways: a hopeless romantic, a completely obsessed wacko or a dangerous gangster intent on clinging to wealth".[143]
Television
The character of Jay Gatsby has appeared many times in television adaptations. The first was in May 1955 as an
Toby Stephens later portrayed the character in a 2000 television film adaptation.[146] In a 2001 review of the television film, The New York Times criticized Stephens' performance as "so rough around the edges, so patently an up-from-the-street poseur that no one could fall for his stories for a second" and his "blunt performance turns Gatsby's entrancing smile into a suspicious smirk".[147]
In
Radio
List
Year | Title | Actor | Format | Distributor | Rotten Tomatoes | Metacritic |
---|---|---|---|---|---|---|
1926 | The Great Gatsby | James Rennie | Stage | Broadway (Ambassador Theatre) | — | — |
1926 | The Great Gatsby | Warner Baxter | Film | Paramount Pictures | 55% (22 reviews)[152] | — |
1949 | The Great Gatsby | Alan Ladd | Film | Paramount Pictures | 33% (9 reviews)[153] | — |
1950 | The Great Gatsby | Kirk Douglas | Radio | Family Hour of Stars
|
— | — |
1955 | The Great Gatsby | Robert Montgomery | Television | NBC Robert Montgomery Presents | — | — |
1958 | The Great Gatsby | Robert Ryan | Television | CBS Playhouse 90 | — | — |
1974 | The Great Gatsby | Robert Redford | Film | Paramount Pictures | 39% (36 reviews)[154] | 43 (5 reviews)[155] |
2000 | The Great Gatsby | Toby Stephens | Television | A&E Television Networks
|
— | — |
2012 | The Great Gatsby | Andrew Scott | Radio | BBC Radio 4 | — | — |
2013 | The Great Gatsby | Leonardo DiCaprio | Film | Warner Bros. Pictures | 48% (301 reviews)[156] | 55 (45 reviews)[157] |
2023 | The Great Gatsby | Jeremy Jordan | Stage | Broadway (Paper Mill Playhouse/Broadway Theatre) | — | — |
See also
- Gatsby (sandwich), a South African submarine sandwich named after the character
- Great Gatsby curve, a measure of economic inequality and social mobility
- Adaptations and portrayals of F. Scott Fitzgerald
References
Notes
- ^ a b A "doughboy" was a popular term for "an American infantryman in World War I".[60] The term's exact provenance is unknown.
- ^ In 1920s slang, a "yachtsman" was a popular euphemism for a bootlegger as contraband alcohol was often imported via sailboat.[2]
- ^ a b Both Zelda Fitzgerald and F. Scott Fitzgerald's friend Edmund Wilson stated that Max Gerlach was a neighbor.[1][32] Scholars have yet to find surviving property records for a Long Island estate with Gerlach's name.[33] However, there are likely "gaps in the record of his addresses",[33] and an accurate reconstruction of Gerlach's life is hindered "by the imperfect state of relevant documentation".[34]
- ^ a b Gatsby's pursuit of Daisy was inspired by Fitzgerald's life-long obsession with socialite Ginevra King.[63][64] As Maureen Corrigan notes: "Because she's the one who got away, Ginevra—more than Zelda—is the love who lodged like an irritant in Fitzgerald's imagination, producing the literary pearl that is Daisy Buchanan".[65]
- Grand Dragon of the Ku Klux Klan in Alabama.[20] Her family owned the White House of the Confederacy.[21] According to Zelda's biographer Nancy Milford, "if there was a Confederate establishment in the Deep South, Zelda Sayre came from the heart of it".[22]
- Berlin, Germany, and, as a young boy, he immigrated with his German parents to America.[36]
- ^ In 2002, over six decades after Fitzgerald's death, his earlier draft of the now-famous novel was published under the title Trimalchio: An Early Version of The Great Gatsby.[42]
- ^ Gatsby's birth year is revealed based on his first meeting with Dan Cody. Fitzgerald writes that Dan Cody went to sea in 1902 and, five years later in 1907, Cody first encountered Gatsby in Little Girl Bay at Lake Superior.[49] At the time of this first encounter, Gatsby was 17-years-old.[50] Consequently, Gatsby was born circa 1890 according to the novel's text.
- ^ Reflecting Gatsby's Lutheran roots, his university St. Olaf College was founded in 1874 by Lutheran followers in southern Minnesota.
- ^ "Tuolomee" is an alternate spelling for the Tuolumne River which emerges from Sierra Nevada mountain range. Ostensibly, copper tycoon Dan Cody, who made his fortune in "the Nevada silver fields",[49] named his yacht after the legendary river which was once rich in silver and copper ore.
- ^ Gatsby's love for Daisy mirrors Fitzgerald's love for Ginevra King. Fitzgerald "was so smitten by King that for years he could not think of her without tears coming to his eyes".[62]
- ^ In the original 1925 text, Fitzgerald specified the "Sixteenth Infantry" of the "First Division".[58] Fitzgerald corrected the text in subsequent editions to be the "Seventh Infantry" of the "Third Division".[59]
- Zelda Sayre, a Southern belle.[75]
- ^ The novel's antagonist Thomas "Tom" Buchanan was primarily based upon William "Bill" Mitchell, the businessman who married Ginevra King, Fitzgerald's first love.[77] Mitchell was a Chicagoan who loved polo.[77] Also, like Ginevra's father Charles Garfield King whom Fitzgerald resented, Buchanan is an imperious Yale man and polo player from Lake Forest, Illinois.[78]
- Jewish gambler Arnold Rothstein,[85] a New York crime kingpin whom Fitzgerald met once in undetermined circumstances.[86] Rothstein was blamed for match fixing in the Black Sox Scandal that tainted the 1919 World Series.[87]
- new money" peninsula of West Egg is an allusion to the Great Neck (Kings Point) region of Long Island, while the "old money" East Egg refers to Port Washington (Sands Point).[91]
- ^ In 1922, Fitzgerald moved to Kings Point on Long Island where his marriage began to disintegrate.[92] The quarrels between Fitzgerald and his wife Zelda grew intense,[92] and they remarked to friends that their marriage would not last much longer.[92] While staring across Long Island Sound, Fitzgerald continued to long for Ginevra King and hoped to be reunited with her.[93] He later confided to his daughter that Ginevra "was the first girl I ever loved" and that he "faithfully avoided seeing her" to "keep the illusion perfect".[94]
- Queens. "In those empty spaces and graying heaps, part of which was known as the Corona Dumps, Fitzgerald found his perfect image for the callous and brutal betrayal of the incurably innocent Gatsby".[104] The landfill was drained and became the site of the 1939 World's Fair.[104]
- ^ A "sheik" referred to young men in the Jazz Age who imitated the appearance and dress of iconic film star Rudolph Valentino.[114] The female equivalent of a "sheik" was called a "sheba".[115] Both "sheiks" and "shebas" were slightly older in age than the younger "flapper" generation who were children during World War I.[115]
Citations
- ^ a b c d e Bruccoli 2002, p. 178: "Jay Gatsby was inspired in part by a local figure, Max Gerlach. Near the end of her life Zelda Fitzgerald said that Gatsby was based on 'a neighbor named Von Guerlach or something who was said to be General Pershing's nephew and was in trouble over bootlegging'".
- ^ Kruse 2014, pp. 17–18, 43–44.
- ^ a b Fitzgerald 1925, p. 209; Slater 1973, p. 56.
- ^ a b Fitzgerald 1925, pp. 117–118: "Just why these inventions were a source of satisfaction to James Gatz of North Dakota, isn't easy to say.... His parents were shiftless and unsuccessful farm people".
- ^ a b Kruse 2002, pp. 53–54, 47–48, 63–64.
- ^ a b Kruse 2014, p. 15.
- ^ a b Kruse 2002, p. 47.
- ^ a b Bruccoli 2002, p. 178.
- ^ a b Kruse 2014, pp. 38–39, 63–64.
- ^ a b Kruse 2002, p. 60.
- ^ a b Pekarofski 2012, p. 52.
- ^ a b Vogel 2015, p. 41.
- ^ a b c d Slater 1973, p. 56.
- ^ a b c d Vogel 2015, p. 45.
- ^ a b c Pearson 1970, p. 638.
- ^ a b Pearson 1970, p. 645.
- ^ a b c d e f g h i Tredell 2007, p. 95.
- ^ a b c Green 1926.
- ^ Milford 1970, pp. 3–4.
- ^ Davis 1924, pp. 45, 56, 59; Milford 1970, p. 5; Svrluga 2016.
- ^ Wagner-Martin 2004, p. 24.
- ^ Milford 1970, p. 3.
- ^ Mizener 1965, p. 164.
- ^ Mizener 1965, pp. 135, 140.
- ^ Mizener 1965, pp. 140–41.
- ^ Mizener 1965, p. 140: Although Fitzgerald strove "to become member of the community of the rich, to live from day to day as they did, to share their interests and tastes", he found such a privileged lifestyle to be morally disquieting.
- ^ a b Mizener 1965, p. 141: Fitzgerald "admired deeply the rich" and yet his wealthy friends often disappointed or repulsed him. Consequently, he harbored "the smouldering hatred of a peasant" towards the wealthy and their milieu.
- ^ Turnbull 1962, p. 150: According to Fitzgerald himself, he was unable "to forgive the rich for being rich, and it has colored my entire life and works."
- ^ a b Turnbull 1962, p. 150.
- ^ Van Allen 1934.
- Saturday Evening Postand other magazines rejected several of Fitzgerald's stories as they deemed them to be "baffling, blasphemous, or objectionably satiric about wealth".
- ^ Kruse 2014, pp. 13–14: Biographer Arthur Mizener wrote in a January 1951 letter to Max Gerlach that "Edmund Wilson, the literary critic, told me that Fitzgerald came to his house, apparently from yours [Gerlach's], and told him with great fascination about the life you were leading. Naturally, it fascinated him as all splendor did".
- ^ a b Kruse 2014, pp. 23–24.
- ^ Kruse 2014, p. 20.
- ^ Kruse 2002, p. 51.
- ^ Kruse 2014, pp. 6, 20.
- ^ Kruse 2002, pp. 45–83; Bruccoli 2002, p. 178.
- ^ a b Bruccoli 2002, p. 178; Kruse 2002, pp. 47–48; Kruse 2014, p. 15
- ^ a b Kruse 2014, p. 26.
- ^ Fitzgerald 1925, p. 185.
- ^ Vogel 2015, p. 40; Slater 1973, p. 54.
- ^ West 2002.
- ^ Fitzgerald 1991, p. 88, Chapter 7, opening sentence: "It was when curiosity about Gatsby was at its highest that the lights in his house failed to go on one Saturday night—and, as obscurely as it had begun, his career as Trimalchio was over".
- ^ Fitzgerald 2000, pp. vii–viii: Tanner's introduction to the Penguin Books edition.
- ^ Hill, Burns & Shillingsburg 2002, p. 331.
- ^ Bruccoli 2002, pp. 206–07.
- ^ Eble 1974, p. 37.
- ^ Kruse 2002, p. 75.
- ^ a b c Fitzgerald 1925, p. 120.
- ^ a b c Fitzgerald 1925, p. 118.
- ^ Fitzgerald 1925, p. 209: "A little before three the Lutheran minister arrived from Flushing, and I began to look involuntarily out the windows for other cars. So did Gatsby's father".
- ^ Fitzgerald 1925, p. 119: "An instinct toward his future glory had led him, some months before, to the small Lutheran College of St. Olaf's".
- ^ Fitzgerald 1925, p. 119: "He stayed there two weeks, dismayed at its ferocious indifference to the drums of his destiny, to destiny itself, and despising the janitor's work with which he was to pay his way through".
- Madame de Maintenonto his weakness and sent him to sea in a yacht, were common property of the turgid journalism of 1902. He had been coasting along all too hospital shores for five years when he turned up as James Gatz's destiny in Little Girl Bay".
- ^ Fitzgerald 1925, p. 118: "I suppose he'd had the name ready for a long time, even then.... He invented just the sort of Jay Gatsby that a seventeen-year-old boy would be likely to invent, and to this conception he was faithful to the end".
- ^ Fitzgerald 1925, pp. 118, 120–121.
- ^ Fitzgerald 1925, p. 121: "And it was from Cody that he inherited money—a legacy of twenty-five thousand dollars. He didn't get it. He never understood the legal device that was used against him, but what remained of the millions went intact to Ella Kaye".
- ^ a b Fitzgerald 1925, p. 57.
- ^ a b Fitzgerald 1991, pp. 39, 188.
- ^ Robbins & Chipman 2013, p. 255.
- ^ Fitzgerald 1925, pp. 79.
- ^ Noden 2003.
- ^ Smith 2003: Fitzgerald later confided to his daughter that Ginevra King "was the first girl I ever loved" and that he "faithfully avoided seeing her" to "keep the illusion perfect".
- ^ Borrelli 2013.
- ^ Corrigan 2014, p. 58.
- ^ Fitzgerald 1925, pp. 177–179: "He found her excitingly desirable. He went to her house, at first with other officers from Camp Taylor, then alone.... I can't describe to you how surprised I was to find out I loved her, old sport".
- ^ Fitzgerald 1925, pp. 57, 79–80, 180, 205.
- ^ Fitzgerald 1925, p. 57: "Your face is familiar," he said, politely. "Weren't you in the First Division during the war?" "Why, yes. I was in the Twenty-eighth Infantry." "I was in the Sixteenth Infantry until June nineteen-eighteen. I knew I'd seen you somewhere before."
- ^ Fitzgerald 1991, p. 39: "Your face is familiar," he said politely. "Weren't you in the Third Division during the war?" "Why, yes. I was in the Ninth Machine-Gun Battalion." "I was in the Seventh Infantry until June nineteen-eighteen. I knew I'd seen you somewhere before."
- ^ American University in Europe 1921.
- ^ Kruse 2014, p. 50.
- ^ Fitzgerald 1925, p. 155: "It was in nineteen-nineteen, I only stayed five months. That's why I can't really call myself an Oxford man.... It was an opportunity they gave to some of the officers after the armistice".
- ^ Fitzgerald 1925, p. 180: "After the armistice he tried frantically to get home, but some complication or misunderstanding sent him to Oxford instead".
- ^ West 2005, p. 68.
- ^ West 2005, p. 73.
- ^ Fitzgerald 1925, p. 182: "The letter reached Gatsby while he was still at Oxford".
- ^ a b Bruccoli 2000, pp. 9–11, 246; Bruccoli 2002, p. 86; West 2005, pp. 66–70.
- ^ West 2005, pp. 4, 57–59.
- ^ Fitzgerald 1925, pp. 91–94.
- ^ Fitzgerald 1925, p. 183.
- ^ Fitzgerald 1925, p. 178: "However glorious might be his future as Jay Gatsby, he was at present a penniless young man without a past, and at any moment the invisible cloak of his uniform might slip from his shoulders. So he made the most of his time".
- ^ Turnbull 1962, pp. 92–93.
- ^ Fitzgerald 1945, p. 18: "In any case, the Jazz Age now raced along under its own power, served by great filling stations full of money".
- ^ Fitzgerald 1945, p. 15: The Jazz Age represented "a whole race going hedonistic, deciding on pleasure".
- ^ Bruccoli 2000, p. 29; Mizener 1965, p. 186.
- ^ Bruccoli 2002, p. 179; Mizener 1965, p. 186.
- ^ Bruccoli 2000, p. 29.
- ^ Fitzgerald 1925, pp. 73, 88, 160–161, 205–207.
- ^ Fitzgerald 1925, p. 88: "Meyer Wolfsheim? No, he's a gambler." Gatsby hesitated, then added coolly: "He's the man who fixed the World's Series back in 1919".
- ^ Fitzgerald 1925, p. 95: "He had waited five years [since 1917] and bought a mansion where he dispensed starlight to casual moths".
- ^ Bruccoli 2000, pp. 38–39.
- ^ a b c Turnbull 1962, p. 112.
- ^ Noden 2003; Corrigan 2014, p. 58.
- ^ Smith 2003; Borrelli 2013.
- ^ a b Fitzgerald 1925, pp. 94–96.
- ^ Fitzgerald 1925, pp. 60–61: "When the 'Jazz History of the World' was over, girls were putting their heads on men's shoulders in a puppyish, convivial ways, girls were swooning backward playfully into men's arms, even into groups, knowing that some one would arrest their falls".
- ^ Fitzgerald 1925, pp. 2–3.
- ^ Bruccoli 2002, p. 211.
- ^ West 2005, pp. 57–59.
- ^ Whipple 2019, p. 85.
- ^ Fitzgerald 1991, p. 184. Editor Matthew J. Bruccoli notes: "This name combines two automobile makes: The sporty Jordan and the conservative Baker electric".
- ^ Tredell 2007, p. 124: An index note refers to Laurence E. MacPhee's "The Great Gatsby's Romance of Motoring: Nick Carraway and Jordan Baker", Modern Fiction Studies, 18 (Summer 1972), pp. 207–12.
- ^ Fitzgerald 2006, p. 95; Fitzgerald 1997, p. 184
- ^ a b Lask 1971.
- ^ Fitzgerald 1925, p. 27.
- ^ Fitzgerald 1925, pp. 29–31.
- ^ Fitzgerald 1925, pp. 155–157.
- ^ Fitzgerald 1925, pp. 158–159.
- ^ Fitzgerald 1925, p. 159.
- ^ Fitzgerald 1925, pp. 162–163.
- ^ Fitzgerald 1925, pp. 172–174.
- ^ Fitzgerald 1925, pp. 214–216.
- ^ Fitzgerald 1925, pp. 194–197.
- ^ Savage 2007, pp. 206–207, 225–226.
- ^ a b Perrett 1982, pp. 151–152.
- ^ Fitzgerald 1925, pp. 209–211.
- ^ Fitzgerald 1925, pp. 207–211.
- ^ Matthews 2003, pp. 18–19.
- ^ a b Dorson 1986, p. 76.
- ^ Mizener 1965, p. 193; Pearson 1970, p. 638.
- ^ a b c Mizener 1965, p. 193.
- ^ a b Mizener 1965, p. 170: Fitzgerald's "main point is that the American dream of rising from newsboy to President is ridiculous".
- ^ The Cornell Daily Sun 1960, p. 1.
- ^ Rimer 2008.
- ^ Bewley 1954, pp. 235, 238: "For Gatsby, Daisy does not exist in herself. She is the green light that signals him into the heart of his ultimate vision ... Thus the American dream, whose superstitious valuation of the future began in the past, gives the green light through which alone the American returns to his traditional roots, paradoxically retreating into the pattern of history while endeavoring to exploit the possibilities of the future".
- ^ Lagnado 2009.
- ^ a b Conant 1986.
- ^ a b c d e Keeler 2018, p. 174.
- ^ a b Teachout 1992; Bañagale 2014, pp. 156–157; Levy 2019; Mizener 1960; Fitzgerald 2004, p. 93
- ^ Fitzgerald 2004, p. 93.
- ^ a b Teachout 1992.
- ^ Mizener 1960.
- ^ Bañagale 2014, pp. 156–157.
- ^ Levy 2019.
- ^ a b c Tredell 2007, p. 97.
- ^ a b Howell 2013.
- ^ Mellow 1984, p. 281; Howell 2013.
- ^ a b McGilligan 1986, p. 280.
- ^ Crowther 1949.
- ^ Dixon 2003; Hischak 2012, pp. 85–86
- ^ Ebert 1974.
- ^ a b Siskel 1974.
- ^ Luscombe 2011.
- ^ Hyatt 2006, pp. 49–50.
- ^ Hischak 2012, pp. 85–86.
- ^ Howell 2013; Hischak 2012, pp. 85–86.
- ^ James 2001.
- ^ Perkins 2017.
- ^ Pearce 2017.
- ^ Pitts 1986, p. 127.
- ^ Forrest 2012.
- ^ Rotten Tomatoes: The Great Gatsby (1926).
- ^ Rotten Tomatoes: The Great Gatsby (1949).
- ^ Rotten Tomatoes: The Great Gatsby (1974).
- ^ Metacritic: The Great Gatsby (1974).
- ^ Rotten Tomatoes: The Great Gatsby (2013).
- ^ Metacritic: The Great Gatsby (2013).
Works cited
- "Alumni Return to Ithaca for Annual Reunion, To Attend Lecture Series, Special Exhibitions". The Cornell Daily Sun. Vol. 76, no. 151 (Friday ed.). Ithaca, New York. June 10, 1960. p. 1. Retrieved September 12, 2023.
- Bañagale, Ryan Raul (2014). Arranging Gershwin: Rhapsody in Blue and the Creation of an American Icon. Oxford, England: ISBN 978-0-19-997837-3 – via Google Books.
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Hollywood," [Zelda] wrote Scottie, "is not gay like the magazines say but very quiet. The stars almost never go out in public and every place closes at mid-night." They had been to see a screening of The Great Gatsby, she wrote: "It's ROTTEN and awful and terrible and we left.
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