If Gatsby himself symbolises the American dream – he has made himself a success, absurdly wealthy with a huge house and a whole retinue of servants, having started out in poverty – then there are plenty of reminders in The Great Gatsby that ‘the American dream’ remains just that, a dream, for the majority of Americans:Ībout half way between West Egg and New York the motor-road hastily joins the railroad and runs beside it for a quarter of a mile, so as to shrink away from a certain desolate area of land. Nevertheless, Fitzgerald deftly sets the world of West Egg, with Gatsby’s mock-chateau and swimming pool, against the rather grittier and grimier reality for most Americans at the time. Nick Carraway is both part of Gatsby’s world and yet also, at the same time, an observer from the side-lines, someone who is not rich and extravagant as many in Gatsby’s circle are, yet someone who is ushered into that world by an enthusiastic Jay Gatsby, who sees in Carraway a man in whom he can confide. Nick Carraway is closer to Gatsby than an impersonal narrator would be, yet the fact that Nick narrates Gatsby’s story, rather than Gatsby telling his own story, nevertheless provides Nick with some detachment, as well as a degree of innocence and ignorance over Gatsby’s identity and past. Gatsby’s parties may be a mere front, a way of coping with Daisy’s previous rejection of him and of trying to win her back, but Fitzgerald – and his sympathetic narrator, Nick Carraway – do not ridicule Gatsby’s behaviour as wholly shallow or vacuous.įitzgerald’s choice to have a first-person narrator, rather than a more detached and impersonal ‘omniscient’ third-person narrator, is also significant. One reason The Great Gatsby continues to invite close analysis is the clever way Fitzgerald casts his novel as neither out-and-out criticism of Jazz Age ‘values’ nor as an unequivocal endorsement of them.
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