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Ilse's Reviews > The Great Gatsby

The Great Gatsby by F. Scott Fitzgerald

The Great Gatsby
by

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Bright lights, big city

When I avowed my disenchantment with Tender Is the Night, a few GR friends urged me to read The Great Gatsby to truly appreciate F. Scott Fitzgerald. I cannot but admit The Great Gatsby was a far more exhilarating read than I had expected it to be, its tight composition and restless pace a remarkable contrast with the muddled slow mess that made Tender Is the Night hard for me to get through, the exquisite, visual opulent writing more than in The Curious Case of Benjamin Button unfurling in all its grandeur, alternating the scrumptious and the gritty, just like the narrative unfolding more coherently.

Reading The Great Gatsby immediately after Tra donne sole (among women only) by Cesare Pavese, featuring also some bored socialites as seen by an outsider who almost unwillingly turns into an insider, it struck me how little difference living in 1922 New York or fifties Turin seemed to make, at least for a certain class of people, the ones leisured and wealthy – however Pavese’s women seem more despondent and philosophical, responding to the shallowness of their lives by cynicism, nihilism or suicide.

F. Scott Fitzgerald paints brightly lit places, populated by shady people. Daisy and Tom Buchanan, Jay Gatsby, Jordan Baker and the outsider-insider narrator Nick Carraway are a fine fleur of unlovable, amoral and superficial characters, representatives of old and new money being equally dreadful, reducing friendships and loving relationships to commodities, cheating and lying themselves through their lives, crooks, dishonest to the core, whether in golf, in business or in relationships, so corrupt that even the narrator who conspicuously prides himself on his honesty makes himself untrustworthy by doing so. These are people who are moved to tears by a soft rich heap of beautiful shirts ordered from England, in the meantime thoughtlessly wrecking other people’s lives without even blinking (Pavese’s novel also pivots around haute couture).

They were careless people... they smashed up things and creations and then retreated back into their money or their vast carelessness... and let other people clean up the mess they had made.

Among many other things, the Great Gatsby is also tale of the ludicrous things we do for love (and which inevitably will leave us with empty hands), a painful story about holding on to illusions against one’ s better judgment and a cautionary tale on the (at that time perhaps) quintessential American belief in the malleability of the individual, the American dream, at which I am aware as a European I can only look at from a unbridgeable distance, bemused at a cultural trope which feels alien to me. Reading The Great Gatsby as a trenchant commentary on this belief however, Fitzgerald to my surprise struck me as a sheer visionary, illustrating sharply the downsides and dangers of this belief and capitalist ethos even if he couldn’t foresee how this pseudo-meritocratic mentality would spread and spill over times and oceans, how it would change societies and poison individuals with it all over the world in the wake of capitalism and neo-liberalism, which would make it into a personal vocation and permanent responsibility to remodel and market oneself to be a worthy individual in a hyper competitive society (and on the flipside blame oneself if one fails to succeed or succumbs under the pressure to achieve and be happy) – an ethos conditioning individuals who are made to think of themselves as one-person enterprises, judged by (and judging themselves) by what they have and do rather than what they are. If you are so smart why aren’t you rich? No wonder people are lonely and struggle with a warped view of the self and feelings of failure (Paul Verhaeghe, What about Me? The Struggle for Identity in a Market-based Society). By Jay Gatsby’s fate, Fitzgerald exposes the vicious lie that we can be what and who we want to be if we only work on ourselves and that we will be loved if doing so.

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(Illustration: Michelle Lagasca)

As a counterpoint to all the extravagant and baffling materialism of the world he evokes, F. Scott Fitzgerald gently invites the reader to contemplate past, present and future in a burst of melancholic beauty that will glow on in my mind for a long time.

"Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors’ eyes—a fresh, green breast of the new world.

Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an æsthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.

And as I sat there, brooding on the old unknown world, I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.

Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther. . . . And one fine morning——

So we beat on, boats against the current, borne back ceaselessly into the past."

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Reading Progress

March 9, 2021 –Started Reading

March 9, 2021 –4.1% "Life is much more successfully looked at from single window."

March 10, 2021 –Finished Reading

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