great gatsby book review essays

The Great Gatsby

By f. scott fitzgerald.

'The Great Gatsby' by F. Scott Fitzgerald is an unforgettable novel of wealth and love. It chronicles the "Jazz Age," post World War I in the United States.

About the Book

Article written by Emma Baldwin

B.A. in English, B.F.A. in Fine Art, and B.A. in Art Histories from East Carolina University.

The Great Gatsby  by F. Scott Fitzgerald was published in 1925 in New York City. It is considered to be Fitzgerald’s best and most famous novel . It depicts the lives of characters entangled in the New York City social scene , in dangerous love affairs, and endless wealth. Narrated by Nick Carraway, a man whose life mirrored Fitzgerald’s own, he takes the reader into the mysterious world of Jay Gatsby . Gatsby, a new multi-millionaire who seemingly lives the American dream, is consumed with the desire to reclaim a lost relationship.

Key Facts about  The Great Gatsby

• Title:   The Great Gatsby
• When/where written: Paris and the US in 1924
• Published: 1925
• Literary Period: Modernism
• Genre:  Novel
• Point-of-View:  First-person
• Setting: New York City in 1922
• Climax:  Gatsby and Tom fight over Daisy
• Antagonist:  Tom Buchanan, Greed

F. Scott Fitzgerald and  The Great Gatsby

Fitzgerald’s  The Great Gatsby  is a modernist masterpiece . But, when it was published the author had no idea of its importance or how tied it would become to his own literary legacy. Fitzgerald, like the novel’s narrator, Nick, was born in Minnesota. He moved to New York to pursue fame and fortune, like Jay Gatsby. Perhaps also seeking inspiration in his personal experiences, Fitzgerald’s wife, Zelda, refused to marry him unless he could support her. This mirrors Gatsby’s experience with Daisy in the novel, ending in her marrying Tom Buchanan, a cruel man but one with more than enough money for her to live the kind of life she wanted. The Fitzgeralds were wealthy, but as debt crept upon them, Fitzgerald’s health worsened, and he suffered from mental illness. He died from a heart attack in 1940, with his wife passing away a few years later. Today, scholars consider  The Great Gatsby,  as well as Fitzgerald’s other novels, as a means for the writer to confront his feelings about (what he coined as) “The Jazz Age.” The period after World War I is well documented in  The Great Gatsby .  Fitzgerald was initially interested in the outrageous lifestyles of the wealthy in New York City, engaging in such a lifestyle himself. But, just as Nick Carraway discovered, things weren’t quite as bright and shining as they seemed.

Books Related to  The Great Gatsby

The Great Gatsby  is one of the best representatives of modernist fiction after the First World War. It was a period of emptiness and disillusionment that was for many such as the characters in this novel , filled with irrelevancies. He depicted lost people, depression, reality, and various types of corruption. As did other writers like James Joyce with his masterpiece Ulysses.  Hemingway’s works are also often compared to Fitzgerald’s. These include books like The Sun Also Rises.  Other books readers might find comparable to  The Great Gatsby  include  The Age of Innocence  by Edith Wharton,  To Kill a Mockingbird  by Harper Lee, and Fitzgerlad’s 1922 novel,  The Beautiful and the Damned.  The latter was published right before  The Great Gatsby  and tells the story of a socialite and heir to a massive fortune. Fitzgerald explores his marriage, military service, and the couple’s troubles.  This Side of Paradise  by F. Scott Fitzgerald is another novel in which readers can find themes comparable to those in  The Great Gatsby.  It was Fitzgerald’s first novel and follows several American youths after World War I.

The Lasting Impact of The Great Gatsby

When The Great Gatsby  was published in 1925, it sold around 21,000 copies, a number far lower than Fitzgerald’s previous novels. Today, the novel has sold over 25 million copies and has been translated into numerous languages. It’s a staple of classrooms all over the world. Today, the novel is said to embody the American spirit and convey the atmosphere of an incredibly important time in the history of the country . For some, this novel is the best representative of the American spirit and Fitzgerald’s “Jazz Age .” Despite the decades that have passed, the novel is still relevant today. It features complex characters with problems school-age readers and those simply reading for pleasure can relate to.

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A Summary and Analysis of F. Scott Fitzgerald’s The Great Gatsby

By Dr Oliver Tearle (Loughborough University)

The Great Gatsby is the quintessential Jazz Age novel, capturing a mood and a moment in American history in the 1920s, after the end of the First World War. Rather surprisingly, The Great Gatsby sold no more than 25,000 copies in F. Scott Fitzgerald’s lifetime. It has now sold over 25 million copies.

If Fitzgerald had stuck with one of the numerous working titles he considered for the novel, it might have been published as Trimalchio in West Egg (a nod to a comic novel from ancient Rome about a wealthy man who throws lavish parties), Under the Red, White and Blue , or even The High-Bouncing Lover (yes, really).

How did this novel come to be so widely acclaimed and studied, and what does it all mean? Before we proceed to an analysis of Fitzgerald’s novel, here’s a quick summary of the plot.

The Great Gatsby : plot summary

Nick Carraway, the narrator of the novel, is a young man who has come to New York to work on the stock exchange. He lives on the island of West Egg, where his neighbour is the wealthy Jay Gatsby, who owns a mansion.

One evening, Nick is dining with his neighbours from East Egg, Tom and Daisy Buchanan. Tom is having an affair, and goes to answer the phone at one point; Daisy follows him out of the room, and their fellow guest, a woman named Jordan Baker, explains to Nick about Tom’s mistress.

A short while after this, Nick is with Tom when Tom sets up a meeting with his mistress, Myrtle, the wife of a garage mechanic named Wilson. Nick attends a party with Tom and Myrtle; Tom hits his mistress when she mentions Daisy’s name.

In the summer, Gatsby throws a number of lavish parties at his mansion. He meets Jordan Baker again and the two are drawn to each other. Nobody seems to know the real Gatsby, or to be able to offer much reliable information about his identity. Who is he?

Gatsby befriends Nick and drives him to New York. Gatsby explains that he wants Nick to do him a favour: Jordan Baker tells him that Daisy was Gatsby’s first love and he is still in love with her: it’s the whole reason Gatsby moved to West Egg, so he could be near Daisy, even though she’s married to Tom. Gatsby wants Nick to invite both him and Daisy round for tea.

When they have tea together, Gatsby feels hopeful that he can recover his past life with Daisy before she was married. However, he knows that Daisy is unlikely to leave Tom for him. When she expresses a dislike for his noisy parties, he scales down his serving staff at his house and tones down the partying.

When they are all at lunch together, Tom realises that Daisy still loves Gatsby. Tom goads Gatsby as he realises he’s losing his mistress and, now, his wife. While staying together in a suite at the Plaza Hotel, Daisy tells Tom that she loves both men.

On their way back home, Gatsby’s car accidentally hits and kills Myrtle Wilson, Tom’s mistress, who has rushed out into the road after her husband found out about her affair. Tom finds her body and is distraught. Nick learns that Daisy, not Gatsby, was driving the car when Myrtle was killed.

Gatsby also tells Nick that he had built himself up from nothing: he was a poor man named James Gatz who made himself rich through the help of a corrupt millionaire named Dan Cody.

The next day, Nick finds Gatsby dead in his own swimming pool: Wilson, after his wife was killed by Gatsby’s car, turned up at Gatsby’s mansion to exact his revenge. Wilson’s body is nearby in the grass. The novel ends with Nick winding up Gatsby’s affairs and estate, before learning that Tom told Wilson where he could find Gatsby so he could take revenge.

The Great Gatsby : analysis

The Great Gatsby is the best-known novel of the Jazz Age, that period in American history that had its heyday in the 1920s. Parties, bootleg cocktails (it’s worth remembering that alcohol was illegal in the US at this time, under Prohibition between 1920 and 1933), and jazz music (of course) all characterised a time when Americans were gradually recovering from the First World War and the Spanish flu pandemic (1918-20).

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. 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.

Fitzgerald’s choice to have a first-person narrator, rather than a more detached and impersonal ‘omniscient’ third-person narrator, is also significant. 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.

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.

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. 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:

About 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. This is a valley of ashes – a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air.

This is the grey, bleak, industrial reality for millions of Americans: not for them is the world of parties, quasi-enchanted gardens full of cocktails and exotic foods, hydroplanes, and expensive motorcars.

Yet the two worlds are destined to meet on a personal level: the Valley of Ashes (believed to be modelled on Corona dump in Queens, New York, and inspired by T. S. Eliot’s The Waste Land ) is where Wilson’s garage is located. The dual tragedy of Gatsby’s and Wilson’s deaths at the end of the novel symbolises the meeting of these two worlds.

The fact that Gatsby is innocent of the two crimes or sins which motivate Wilson – his wife’s adultery with Tom and Daisy’s killing of Myrtle with Gatsby’s car – hardly matters: it shows the subtle interconnectedness of these people’s lives, despite their socioeconomic differences.

What’s more, as Ian Ousby notes in his Introduction to Fifty American Novels (Reader’s Guides) , there is more than a touch of vulgarity about Gatsby’s lifestyle: his house is a poor imitation of a genuine French chateau, but he is no aristocrat; his car is ‘ridiculous’; and his very nickname, ‘the Great Gatsby’, makes him sound like a circus entertainer (perhaps a magician above all else, which is apt given the magical and enchanted way Carraway describes the atmosphere and detail at Gatsby’s parties).

And ultimately, Gatsby’s lavish lifestyle fails to deliver happiness to him, too: he doesn’t manage to win Daisy back to him, so at the same time Fitzgerald is not holding up Gatsby’s ‘success’ uncritically to us.

Is Gatsby black? Although he is known for having been played in film adaptations by Robert Redford and Leonardo DiCaprio, and the novel does not state that Gatsby is an African American, the scholar Carlyle V. Thompson has suggested that certain clues or codes in the novel strongly hint at Gatsby being a black American who has had to make his own way in the world, rising from a poor socio-economic background, and not fully accepted by other people in his social circle because of racial discrimination.

Whether we accept or reject this theory, it is an intriguing idea that, although Fitzgerald does not support this theory in the novel, that may have been deliberate: to conceal Gatsby’s blackness but, as it were, hide it in plain sight.

In the last analysis, The Great Gatsby sums up the Jazz Age, but through offering a tragedy, Fitzgerald shows that the American dream is founded on ashes – both the industrial dirt and toil of millions of Americans for whom the dream will never materialise, and the ashes of dead love affairs which Gatsby, for all of his quasi-magical properties, will never bring fully back to life.

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10 thoughts on “A Summary and Analysis of F. Scott Fitzgerald’s The Great Gatsby”

I regret the several hours wasted in slogging through this low-prole distraction.

You might want to start with something like Dick and Jane.

One of my favorite novels. I have always loved this book. No matter how may times I read it, more is revealed.

The Great Gatsby is one of my favorite novels. Thank you for the detailed analysis! I can also add that Fitzgerald includes lots of symbols in the novel. To my mind, one of the most vivid symbols is a giant billboard with the face of Doctor TJ Eckleburg which is towering over the Valley of Ashes. These eyes are watching the dismal grey scene of poverty and decay. I guess the billboard symbolizes the eyes of God staring at the Americans and judging them. In case seomeone is interested in symbols in The Great Gatsby, there is a nice article about it. Here: https://custom-writing.org/blog/symbols-in-the-great-gatsby

While I could imagine and accept a modern film version of Gatsby as black, I really can’t espouse the notion that Fitzgerald had that in mind. If you know anything about American society in the 1920s, you’d know that you didn’t have to be black or of some other minority to be outside the winner’s circle. US society may still have tons of problems accepting that all people are created equal, but back then, they weren’t even thinking about blacks et al very much. They were quite happy to ostracize Italians, Irish, Catholics, etc, without batting an eye.

This is such a widely misunderstood book, by scholars as well as regulars.

Daisy was the victim of love. She would’ve married Jay while he was in the army. Also, Jay’s so-called symbolic “reaching” is nothing more than him trying to understand self love, to attain it, to unravel the “mystery! ” of it. But he never realizes he’s totally in love with himself, which is his biggest issue other than preying on Daisy’s real love.

And Nick ” Carraway” …. Care-a-way, care-a-way… What self-appointed moral man witnesses nakedly two married plotters sceam against a neighbor they like, or any person in serious need of legal, emotion aid, AND DOES NOTHING. Yeah, care a way, Nick, just not your way! And Come On!! who the hell doesn’t judge others….that’s the ENTIRE POINT OF EVERY BOOK AND LIFE.

WHAT preyed on Gatsby preys upon every person everywhere. Influences of life and choices we make because if them. Gatsby’s such an interesting, centralized , beloved character because he represents everyone’s apparent embracement of the childhood notion, ” we can have it all and make our own consequences, and if not, let’s see if I can manipulate time successfully. Gatsby’s us the full human demonstration of self love at all costs and quite deliberately finding a way disguise and masquerade and mutate and thus deny this very fact while simultaneously trying to make it MAGICAL AND MYSTICAL.

ARTISTS, from geniuses to so-called laypeople, are all simple people with very basic emotions. That’s where ALL starts. They are not Gods, nor do they desire misunderstanding. Frankly, they just wanna see if you have any common sense. Once you get passed that, all literature resembles EVERY aspect of life.

A terrific novel and not bad adaptation as a movie by DiCaprio, I thought! While some of the comments on here are a little excessive, there is much to be said for the symbolism in the book. I rather like the fact that ‘West Egg’ and ‘East Egg’ surely hints at questioning who is the ‘good egg’ and who is ‘the bad egg’. The place names are so unusual that this must be deliberate (‘bad egg’ has been around since at least 1855) and we’re left to wonder just what is good and bad here. No character comes out smelling of roses in this story, which – for me – makes the novel utterly compelling.

Well said, Ken. It’s the subtlety of the characterisation which makes it for me – I know a lot of critics and readers praise the prose style, but I think it’s the way Fitzgerald uses Carraway’s narration to reveal the multifaceted (and complex) nature of Gatsby, Daisy, Tom, and even himself that is so masterly. I’ve just finished analysing the opening paragraphs of the novel and will post that up soon!

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Why do we keep reading the great gatsby , arts & culture.

The art and life of Mark di Suvero

F. Scott Fitzgerald in 1937. Photo: Carl Van Vechten. Public domain, via Wikimedia Commons.

Why do we keep reading The Great Gatsby ? Why do some of us keep taking our time reading it? F. Scott Fitzgerald kept it short. A week is unwarranted. It should be consumed in the course of a day. Two at most. Otherwise, all the mystery seeps away, leaving Jay Gatsby lingering, ethereal but elusive, like cologne somebody else is wearing.

I have read The Great Gatsby four times. Only in this most recent time did I choose to attack it in a single sitting. I’m an authority now. In one day, you can sit with the brutal awfulness of nearly every person in this book—booooo, Jordan; just boo. And Mr. Wolfsheim, shame on you, sir; Gatsby was your friend . In a day, you no longer have to wonder whether Daisy loved Gatsby back or whether “love” aptly describes what Gatsby felt in the first place. After all, The Great Gatsby is a classic of illusions and delusions. In a day, you reach those closing words about the boats, the current, and the past, and rather than allow them to haunt, you simply return to the first page and start all over again. I know of someone—a well-heeled white woman in her midsixties—who reads this book every year. What I don’t know is how long it takes her. What is she hoping to find? Whether Gatsby strikes her as more cynical, naive, romantic, or pitiful? After decades with this book, who emerges more surprised by Nick’s friendship with Gatsby? The reader or Nick?

In this way, The Great Gatsby achieves hypnotic mystery. Who are any of these people—Wilson the mechanic or his lusty, buxom, doomed wife, Myrtle? Which feelings are real? Which lies are actually true? How does a story that begins with such grandiloquence end this luridly? Is it masterfully shallow or an express train to depth? It’s a melodrama, a romance, a kind of tragedy. But mostly it’s a premonition.

Each time, its fineness announces itself on two fronts. First, as writing. Were you to lay this thing out by the sentence, it’d be as close as an array of words could get to strands of pearls. “The cab stopped at one slice in a long white cake of apartment-houses”? That line alone is almost enough to make me quit typing for the rest of my life.

The second front entails the book’s heartlessness. It cuts deeper every time I sit down with it. No one cares about anyone else. Not really. Nick’s affection for Gatsby is entirely posthumous. Tragedy tends to need some buildup; Fitzgerald dunks you in it. The tragedy is not that usual stuff about love not being enough or arriving too late to save the day. It’s creepier and profoundly, inexorably true to the spirit of the nation. This is not a book about people, per se. Secretly, it’s a novel of ideas.

Gatsby meets Daisy when he’s a broke soldier and senses that she requires more prosperity, so five years later he returns as almost a parody of it. The tragedy here is the death of the heart, capitalism as an emotion. We might not have been ready to hear that in 1925, even though the literature of industrialization demanded us to notice. The difference between Fitzgerald and, say, Upton Sinclair, who wrote, among other tracts, The Jungle , is that Sinclair was, among many other things, tagged a muckraker and Fitzgerald was a gothic romantic, of sorts. Nonetheless, everybody’s got coins in their eyes.

This is to say that the novel may not make such an indelible first impression. It’s quite a book. But nothing rippled upon its release in 1925. The critics called it a dud! I know what they meant. This was never my novel. It’s too smooth for tragedy, under wrought. Yet I, too, returned, seduced, eager to detect. What— who? —have I missed? Fitzgerald was writing ahead of his time. Makes sense. He’s made time both a character in the novel and an ingredient in the book’s recipe for eternity. And it had other plans. The dazzle of his prose didn’t do for people in 1925 what it’s done for everybody afterward. The gleam seemed flimsy at a time when a reader was still in search of writing that seeped subcutaneously.

The twenties were a drunken, giddy glade between mountainous wars and financial collapse. By 1925, they were midroar. Americans were innovating and exploring. They messed around with personae. Nothing new there. American popular entertainment erupted from that kind of messy disruption of the self the very first time a white guy painted his face black. By the twenties, Black Americans were messing around, too. They were as aware as ever of what it meant to perform versions of oneself—there once were Black people who, in painting their faces black, performed as white people performing them. So this would’ve been an age of high self-regard. It would have been an age in which self-cultivation construes as a delusion of the American dream. You could build a fortune, then afford to build an identity evident to all as distinctly, keenly, robustly, hilariously, terrifyingly, alluringly American. Or the inverse: the identity is a conjurer of fortune.

This is the sort of classic book that you didn’t have to be there for. Certain people were living it. And Fitzgerald had captured that change in the American character: merely being oneself wouldn’t suffice. Americans, some of them, were getting accustomed to the performance of oneself. As Gatsby suffers at Nick’s place during his grand reunion with Daisy, he’s propped himself against the mantle “in a strained counterfeit of perfect ease, even of boredom.” (He’s actually a nervous wreck.) “His head leaned back so far that it rested against the face of a defunct mantelpiece clock.” Yes, even the clock is in on the act, giving a performance as a timepiece.

So again: Why this book—for ninety-six years, over and over? Well, the premonition about performance is another part of it, and to grasp that, you probably did have to be there in 1925. Live performance had to compete with the mechanical reproduction of the moving image. You no longer had to pay for one-night-only theater when a couple times a day you could see people on giant screens, acting like people . They expressed, gestured, pantomimed, implied, felt. Because they couldn’t yet use words—nobody talked until 1927 and, really, that was in order to sing—the body spoke instead. Fingers, arms, eyes. The human gist rendered as bioluminescence. Often by people from the middle of nowhere transformed, with surgery, elocution classes, a contract, and a plainer, Waspier name, into someone new. So if you weren’t reinventing yourself, you were likely watching someone who had been reinvented.

The motion picture actually makes scant appearances in this book but it doesn’t have to. Fitzgerald was evidently aware of fame. By the time The Great Gatsby arrived, he himself was famous. And in its way, this novel (his third) knows the trap of celebrity and invents one limb after the next to flirt with its jaws. If you’ve seen enough movies from the silent era or what the scholars call the classical Hollywood of the thirties (the very place where Fitzgerald himself would do a stint), it’s possible to overlook the glamorous phoniness of it all. It didn’t seem phony at all. It was mesmerizing. Daisy mesmerized Gatsby. Gatsby mesmerized strangers. Well, the trappings of his Long Island mansion in East Egg, and the free booze, probably had more to do with that. He had an aura of affluence. And incurs some logical wonder about this fortune: How? Bootlegger would seem to make one only so rich.

A third of the way into the book, Nick admits to keeping track of the party people stuffed into and spread throughout Gatsby’s mansion. And the names themselves constitute a performance: “Of theatrical people there were Gus Waize and Horace O’Donavan and Lester Meyer and George Duckweed and Francis Bull,” Nick tells us. “Also from New York were the Chromes and the Backhyssons and the Dennickers and Russel Betty and the Corrigans and the Kellehers and the Dewars and the Scullys.” There’s even poor “Henry L. Palmetto, who killed himself by jumping in front of a subway train in Times Square.” This is a tenth of the acrobatic naming that occurs across a mere two pages, and once Fitzgerald wraps things up, you aren’t at a party so much as a movie-premiere after-party.

Daisy’s not at Gatsby’s this particular night, but she positions herself like a starlet. There’s a hazard to her approximation of brightness and lilt. We know the problem with this particular star: She’s actually a black hole. Her thick, strapping, racist husband, Tom, enjoys playing his role as a boorish cuckold-philanderer. Jordan is the savvy, possibly kooky, best friend, and Nick is the omniscient chum. There’s something about the four and sometimes five of them sitting around in sweltering rooms, bickering and languishing, that predicts hours of the manufactured lassitude we call reality TV. Everybody here is just as concocted, manifested. And Gatsby is more than real—and less. He’s symbolic. Not in quite the mode of one of reality’s most towering edifices, the one who became the country’s forty-fifth president. But another monument, nonetheless, to the peculiar tackiness of certain wealth dreams. I believe it was Fran Lebowitz who called it. Forty-five, she once said, is “a poor person’s idea of a rich person.” And Gatsby is the former James Gatz’s idea of the same.

Maybe we keep reading this book to double-check the mythos, to make sure the chintzy goose on its pages is really the golden god of our memories. It wasn’t until reading it for the third time that I finally was able to replace Robert Redford with the blinkered neurotic that Leonardo DiCaprio made of Gatsby in the Baz Luhrmann movie adaptation of the book. Nick labels Gatsby’s manner punctilious. Otherwise, he’s on edge, this fusion of suavity, shiftiness, and shadiness. Gatsby wavers between decisiveness and its opposite. On a drive with Nick where Gatsby starts tapping himself “indecisively” on the knee. A tic? A tell? Well, there he is about to lie, first about having been “educated at Oxford.” Then a confession of all the rest: nothing but whoppers, and a tease about “the sad thing that happened to me”—self-gossip. Listening to Gatsby’s life story is, for Nick, “like skimming hastily through a dozen magazines.”

This is a world where “anything can happen”—like the fancy car full of Black people that Nick spies on the road (“two bucks and a girl,” in his parlance) being driven by a white chauffeur. Anything can happen, “even Gatsby.” (Especially, I’d say.) Except there’s so much nothing. Here is a book whose magnificence culminates in an exposé of waste—of time, of money, of space, of devotion, of life. There is death among the ash heaps in the book’s poor part of town. Jordan Baker is introduced flat out on a sofa “with her chin raised a little, as if she were balancing something on it which was quite likely to fall.” It’s as likely to be an actual object as it is the idea of something else: the precarious purity of their monotonous little empire.

We don’t know who James Gatz from North Dakota is before he becomes Jay Gatsby from Nowhere. “Becomes”—ha. Too passive. Gatsby tosses Gatz overboard. For what, though? A girl, he thinks. Daisy. A daisy. A woman to whom most of Fitzgerald’s many uses of the word murmur are applied. But we come back to this book to conclude her intentions, to rediscover whether Gatsby’s standing watch outside her house after a terrible night portends true love and not paranoid obsession. And okay, if it is obsession, is it at least mutual? That’s a question to think about as you start to read this thing, whether for the first or fifty-first time. Daisy is this man’s objective, but she’s the wrong fantasy. It was never her he wanted. Not really. It was America. One that’s never existed. Just a movie of it. America .

Wesley Morris is a critic-at-large at the New York Times and a staff writer at The New York Times Magazine , where he writes about popular culture and cohosts, with Jenna Wortham, the podcast Still Processing . For three years, he was a staff writer at Grantland , where he wrote about movies, television, and the role of style in professional sports, and cohosted the podcast Do You Like Prince Movies? , with Alex Pappademas. Before that, he spent eleven years as a film critic at the Boston Globe , where he won the 2012 Pulitzer Prize for criticism. He lives in Brooklyn, New York.

Introduction by Wesley Morris to the Modern Library edition of The Great Gatsby , by F. Scott Fitzgerald. Introduction copyright © 2021 by Wesley Morris. Published by Modern Library, an imprint of Random House, a division of Penguin Random House LLC.

Scott Berkun

The great gatsby: book review.

As a story outline, The Great Gatsby  is simple. There’s nothing that fancy or elaborate going on. It’s a writer’s book in a way, since it’s so simple and in many way obvious, yet works so wonderfully well. It’s constructed as a series of slow burning time bombs that make you simultaneously want them to both go off to relieve the pressure, but not go off, so you can enjoy the way things are slowly unraveling for as long as possible. It’s irresistible as a writer to want to take it apart and see how it works.

What makes the book sing is the first person narration, and how easy Fitzgerald makes it seem to blend internal thoughts with plotting, dialog and observation. He jumps though time and perspective but always makes you, as the reader, feel well cared for by the soft cushion of his narrative powers.

But there are moments that don’t age well: scenes of racism, which, on afterthought, were probably appropriate for 1920s America (and perhaps part of the commentary he was making about society. It’s hard to tell at times what he is criticizing and what he’s simply observing). Some manners of speech feel staged, but not having been born until 50 years after it was written it’s hard to argue whether he got it right or wrong. But none of those complaints stand in the way of what has always been a deeply worthwhile, and easy read.

Some choice non-spoiler quotes from the book:

It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced — or seemed to face — the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself, and assured you that it had precisely the impression of you that, at your best, you hoped to convey. Precisely at that point it vanished Reserving judgments is a matter of infinite hope. I am still a little afraid of missing something if I forget that, as my father snobbishly suggested, and I snobbishly repeat, a sense of the fundamental decencies is parceled out unequally at birth. 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 that temporarily closed out my interest in the abortive sorrows and shortwinded elations of men. Something in his leisurely movements and the secure position of his feet upon the lawn suggested that it was Mr. Gatsby himself, come out to determine what share was his of our local heavens. The little dog was sitting on the table looking with blind eyes through the smoke, and from time to time groaning faintly. People disappeared, reappeared, made plans to go somewhere, and then lost each other, searched for each other, found each other a few feet away. Some time toward midnight Tom Buchanan and Mrs. Wilson stood face to face, discussing in impassioned voices…

When I saw the  latest film version of The Great Gatsby (directed by Baz Luhrmann, of Moulin Rouge  fame), I was disappointed and delighted. Baz’s style fits his name, and the movie is grand, dramatic, over the top and nearly absurd, but also beautiful, shocking and intense. It seemed Baz didn’t see the film as a tragic commentary on the misguided capitalistic dream, or at least not enough to prevent the dance numbers and special effects to often take center stage. The revival of Gatsby parties seemed to have missed the point of who Gatsby was.

I’d always thought of the story as more smoldering than explosive, and more lyrical than confrontational. I still prefer the 1974 Redford version of the film , which was more stayed and placed a bigger bet on the strength of the story than on visual storytelling itself. Gatsby is meant to be a sad enigma, and it’s Carraway (played best by Sam Waterston) who has the burden of framing him for us. In the end, the most successful, best looking person in the story is the opposite of what he seems, yet it’s so easy to get lost along the way that this is what the story is truly about. Perhaps Fitzgerald was too soft in his telling of the story, as far too many people take other things away from it.

[updated 4-10-2016]

7 Responses to “The Great Gatsby: Book Review”

One of my favorite books of all-time. Funny enough, through each read over the years, my visual mind has always had DiCaprio playing the role.

I’d never imagined a specific actor for it, but when I saw the preview he instantly seemed like a great choice.

Thanks for the book review, Scott! I’m embarrassed to admit that I have yet to read THE GREAT GATSBY. However, my husband’s enthusiasm for it as one of the best books he’s ever read coupled with the fact that Baz Luhrmann made a movie (ROMEO + JULIET is a longtime favorite of mine) is enough to get me to read it.

Time to squeeze it into the book pile!

Hey, speaking of books for writers – have you read Stephen King’s ON WRITING? What do you think? I’m borrowing it from Jon Colman soon and will give it a read. Hope it will hone my approach to writing.

Thanks for the reminder of this book, Scott. I’ll have to read it again. Your description of “slow burning time bombs” is so great. I enjoyed the 1974 version of the film ( http://www.imdb.com/title/tt0071577/ ), but cannot stomach the thought of watching DiCaprio play Jay Gatsby in the new one.

” What makes the book sing is first person narration” One of the reasons media fiction (hollywood/comics/radio) will never fully replace prose is that media can’t do first person narration very well. Moving pictures can’t do justice to Huckleberry Finn, Holden Caulfield or where readers learn about the world as the hero does, such as the detective in The Puppetmasters or the teens in Harry Turtledove’s Cross-time Traders series. As most computer nerds know, the gap in quality is especially wide between sci-fi (media) and sf. Strange how the public doesn’t get it.

I think you hit the nail on the head when you write about this being a fairly simple story which is nevertheless fun to pick apart. The beauty for me has always been in Fitzgerald’s ability to spin a sentence. Gorgeous.

My review: The Great Gatsby by F. Scott Fitzgerald

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The Great Gatsby F. Scott Fitzgerald

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The Great Gatsby Essays

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<blockquote>[G]audy ... primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. ... [T]he air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and...

The Eulogy of a Dream James Boo

The central theme of <I>The Great Gatsby</I> is the decay of the American Dream. Through his incisive analysis and condemnation of 1920s high society, Fitzgerald (in the person of the novels narrator, Nick Carraway) argues that the...

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After the first of Gatsby's parties that Nick attends, Fitzgerald dedicates two...

Role of Narration in The Great Gatsby Steven Rice

Renowned author F. Scott Fitzgerald became "the most famous chronicler of 1920s America, an era that he dubbed 'the Jazz Age.'" (Phillips 1). His fame grew in part from his widely published short stories, and also from the art of his novel, The...

A Great American Dream Jens Shroyer

The Great Gatsby and "Babylon Revisited," both by F. Scott Fitzgerald, are stories about the emptiness and recklessness of the 1920s. Each story has its distinctions, but Fitzgerald's condemnation of the decade reverberates through both....

Restless in West Egg Anonymous

To many Americans, wealth and happiness are inextricably intertwined. After all, the democratic ideals of our country are predicated on the notion of the âself-madeâ? man. Ironically, it is sometimes the striving for wealth or the striving for...

The Death of a Dream Martha E. Andrietti

F. Scott Fitzgerald's The Great Gatsby is regarded as a brilliant piece of literature that offers a vivid peek into American life in the 1920's. The central characteristics of the "Lost Generation" of the 1920's society are shown through the decay...

The Fall of the American Dream Josh Weiss

The figurative as well as literal death of Jay Gatsby in the novel The Great Gatsby symbolizes a conclusion to the principal theme of the novel. With the end of the life of Jay Gatsby comes the end of what Fitzgerald views as the ultimate American...

Jay Gatsby's Representation of America Josh Weiss

It was literary critic Lionel Trilling who quite aptly described the collective entity Jay Gatsby when he wrote, "Jay Gatsby [stands] for America itself." Jay Gatsby lives his life entrenched in unfathomable wealth. His true roots are rather...

Decay of American Greatness Michael Jin

The Great Gatsby by F. Scott Fitzgerald is a shining example of the principle that the most powerful messages are not told but rather shown. Although the novel is written in the form of largely impartial narration by Nick Carraway, Fitzgerald's...

Through A Lens, Darkly: The Use of Eye Imagery to Illustrate the Theme of an Extinct God in The Great Gatsby Anonymous

Throughout history, the eye has always been an emblem of the deities. In the Egyptian pantheon, there is Horus, god of light, who is signified by his famous Eye; in the Roman pantheon, there is Juno, associated with the many-eyed peacock; and in...

Obsession Anonymous

In his book The Great Gatsby, F. Scott Fitzgerald explores the psychology of love's fantasies and realities through the character of Jay Gatsby. During their five-year separation, Gatsby pines for his love, Daisy Buchanan, rearranging his entire...

Daisy and Her Men: Analysis of Character in The Great Gatsby Ashley Smith

Throughout literature, there are countless characters whose only positive attributes seem to be the fact that they are utterly detestable - the reader loves to hate them. From Shakespeare's conniving Iago to Dickens' endlessly cruel Estella, these...

The African American Dream B. L. Fox

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The Shift From Realism to Modernism Anonymous

During the modernist era, artists gradually moved away from realism towards themes of illusion, consciousness, and imagination. In the visual arts, realism evolved into cubism and expressionism. This movement is paralleled in literature, as...

Gatsby and Henry: Obsession Viewed in Two Different Lenses Ruth Tangonan

Ernest Hemingway's Farewell to Arms and F. Scott Fitzgerald's The Great Gatsby revolve around one primary character who serves as a vessel that reveals the major theme of the book. The Great Gatsby chronicles Jay Gatsby's pursuit of love, while...

Money! Money! Money! Christopher R. DeConinck

In F. Scott Fitzgerald's The Great Gatsby, as Jay Gatsby delves into his pursuit of wealth and need for materialism, his hopes and aspirations become shattered in a world of unobtainable and unreachable possibilities. While Jay Gatsby confidently...

The Bildungsroman Form in The Great Gatsby Sagar Shah

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Luminosity and spiritual longing for something that had vanished a long ago are probably the two main characteristics of the last two paragraphs in Chapter 1 of “The Great Gatsby”. The scene takes place shortly after Nick's return from dinner at...

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F. Scott Fitzgerald explores the decline of the American Dream in one of his most famous novels, The Great Gatsby. Although this book only takes place over a few months, it represents the entire time period of the 1920s, in which society, mainly...

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Famed American novelist F. Scott Fitzgerald could not have anticipated what was on the horizon when he penned The Great Gatsby in 1925. Fitzgerald was no prophet, but he seemed to have an innate sensibility that allowed him to step outside of...

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In the novel The Great Gatsby by F. Scott Fitzgerald and the play Death of a Salesman by Arthur Miller, both authors use their characters’ living space, the house, as a metaphor for the attainability of the American Dream of security, wealth, and...

Home — Essay Samples — Literature — The Great Gatsby — The Great Gatsby: An Analysis of F. Scott Fitzgerald’s Classic Novel

The Great Gatsby: an Analysis of F. Scott Fitzgerald's Classic Novel

• Categories: Scott Fitzgerald The Great Gatsby

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Words: 737 |

Published: Feb 7, 2024

Words: 737 | Pages: 2 | 4 min read

Table of contents

Book summary, literary analysis, evaluation of the book.

• Fitzgerald, F. Scott. “The Great Gatsby.” Scribner, 1925.
• Bruccoli, Matthew J. “F. Scott Fitzgerald’s The Great Gatsby: A Literary Reference.” Carroll & Graf Publishers, 2000.
• Mizener, Arthur. “The Far Side of Paradise: A Biography of F. Scott Fitzgerald.” Houghton Mifflin Harcourt, 1951.
• This Side of Paradise (1920)
• The Beautiful and Damned (1922)
• The Last Tycoon (1941) (unfinished)

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Review: The Great Gatsby by F. Scott Fitzgerald

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1/ Now go read Trimalchio ! 2/ I believe The Great Gatsby was inspired by Great Expectations . 3/ You may find this interesting: http://dgmyers.blogspot.no/2013/08/baz-luhrmanns-final-paper.html

Great review. The last ten pages of the novel are just exquisitely wrought. The automobile at the time was for the rich only, transforming America. The African Amerucans in the expensive motor vehicle are an important symbol of a changing America.

Thanks, I'll take a look at Trimalchio when I get a chance. I can certainly see the comparison with Great Expectations . Interesting post - properly puts the boot into Luhrmann's adaptation. Good discussion in the comments too. Clearly, quality people frequent the place. ;)

Thanks, Mel - thousands of words could probably be written about the Automobile in Gatsby . There are some great passages - I imagine a re-read would only throw up more for me to enjoy.

Great review and I knew the green light meant more but I did not tie it into jeaulously until I read this. Very good point.

Thanks, the green light is a brilliant metaphor - visually moving and deeply layered. Such a simple idea but one that works so well.

I always welcome comments...

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The Great Gatsby by Fitzgerald Review Essay

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The Great Gatsby is a romantically tragic, social view of 1920s America that Fitzgerald created using the standard “American dream” as the story’s foundation. In “The Disillusionment of F. Scott Fitzgerald’s Dreams and Ideas in the Great Gatsby,” Fanimeh Keshmiri calls The Great Gatsby “a genuine representation of America that radically criticizes a basic historic attitude of Americans to life” (1296). The symbols the author used demonstrate two sides of the coin of the Jazz age. For example, Gatsby’s “big yellow car” is almost golden but not quite, which symbolizes his inability to reach the upper class (Fitzgerald 89). The Dream of Gatsby “was doomed to failure and corruption because it demanded too much” (Keshmiri 1296). However, even though the novel is symbolic, the readers see the characters facing different consequences inherent to the real world. Gatsby’s dream to become wealthy to gain Daisy’s attention “is simply believable and is still a common dream of the current time” (Keshmiri 1298). Keshmiri states that Gatsby is portrayed “as the aloof, inexplicable, and standoffish host of the luxury parties, but gets more interesting and complex background later” (1296). According to Keshmiri, “Gatsby portrays one part of Fitzgerald’s personality that is looking for his destiny” (1296). At the same time, Nick represents the other part that fulfills the double vision by participating and commenting on the actions of the novel (1296). However, Gatsby is the story’s main character and is a “personification” of the novel’s topic. Fitzgerald uses Gatsby to portray the American dream from the outside and its rotten ethical and social values.

Works Cited

Fitzgerald, Francis Scott. The Great Gatsby. Wordsworth Classics, 1925.

Keshmiri, Fanimeh. “ The Disillusionment of F. Scott Fitzgerald’s Dreams and Ideas in The Great Gatsby. ” Theory and Practice in Language Studies , vol. 6, no. 6, 2016, pp. 1295-1299. Web.

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Critic’s Notebook

Nearly a Century Later, We’re Still Reading — and Changing Our Minds About — Gatsby

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By Parul Sehgal

• Dec. 30, 2020

I’ve long held to the completely unsupported notion that a protagonist is simpler to write than a truly memorable supporting character. Sometimes just a silhouette — created with a few slashes of the pen, a few charismatic adjectives — seems the more unlikely accomplishment, born out of some surplus wit and energy, some surfeit of love for a fictional world that expresses itself in the desire to animate even its most minor participants.

F. Scott Fitzgerald excelled at this sort of character. Few can write a more vivid neighbor, train conductor or, more usually, bartender. Take Owl Eyes (or so he’s called, for his large spectacles), one of the many partygoers at Gatsby’s mansion. When we first meet him, he has wandered into the library and doesn’t seem able to escape — he stands paralyzed, staring at the books in inebriated admiration.

I wonder if we’re all Owl Eyes now. In the century or so since “The Great Gatsby” was published, we have been lost in Gatsby’s house, immured in a never-ending revival.

This revival will only get more crowded when the novel’s copyright expires as the calendar turns to 2021. January will see the publication of a new edition from Modern Library, with an introduction by Wesley Morris, a critic at large at The New York Times, and another from Penguin, introduced by the novelist Min Jin Lee. That month also brings a prequel, “Nick,” by Michael Farris Smith.

All this follows several films, theater adaptations and other retellings. The novel has been transplanted to post-9/11 Manhattan in Joseph O’Neill’s “Netherland,” to 21st-century London (our bootlegger becomes a Russian arms-dealing billionaire) in Vesna Goldsworthy’s “Gorsky,” to the home of a Black family in contemporary North Carolina in Stephanie Powell Watts’s “No One Is Coming to Save Us.” Gatsby has inspired immersive theater, young adult novels, a Taylor Swift song — “Happiness,” on her latest record , weaves together lines and images from the novel. Even the most minor characters have had spinoffs — Pammie, age 3 in Fitzgerald’s book, has her own story told in “Daisy Buchanan’s Daughter,” by Tom Carson. (Apparently she becomes LBJ’s confidante in Carson’s work; and honestly, why not at this point?) All this atop a heap of Fitzgeraldiana, new biographies and scholarship — to say nothing of the humming cottage industry dedicated to Zelda Fitzgerald, newly resurrected as a feminist heroine.

The literary term for this profusion of interpretations borne out of a novel’s wide influence and deep purchase on the imagination is insane glut .

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The Great Gatsby: Book Review

“ The Great Gatsby” written by F. Scott Fitzgerald is the bestseller published in 1925. This book is a masterpiece in the writings of Fitzgerald. It’s a classic for the readers and most prominent in the American fiction. It occurred as the milestone as it has been reread by many readers. It is a benchmark for the all readers, authors and contemporary writer.

The Great Gatsby involves the story of Jay Gatsby. In this book the character being played, namely Jay, is a character that is in the conquest of win back his only and first love. This character plays the role of an American (University of Adelaide). This book involves the psychology of American people. How they are tempted for the wealth and how they are busy in living their lives. It’s about Americans and their social nature as well as the love and lust with the work (Fitzgerald and Prigozy).

In this book the author has given the goal to think rich and be rich psyche. The author himself is thinking the same. Here the author has personalized his personality aspect in the form of a character in his novel (University of South California).

The author has described the love between a man and woman in a depressed outlook of thwarted love. The author has taken the era out of time which was basically the ear of Jazz and the declined social prosperity of America. America right after the war, experience the raise of wealth when the stock market reached the highest of the height (Fitzgerald and Prigozy).

This book was accepted as the biography of the American state in which all of the problems America have faced in that very time of the war and how American got out of the period. This book was greatly accepted by many of the readers and was entitled as the touchstone for the American society (Fitzgerald and Prigozy).

America right after receiving the raise in wealth became the victim of the deadly phenomenon “materialism”. In this way the families with any social background became able to make fortune. One more important aspect of this novel deals the amendment of 1919, which banned the sale of alcohol. This gave rise in the need and demand for alcohol in almost all the social classes. Because of this demand there was a clear observation of rise in crime ration (Fitzgerald and Prigozy).

The author or the novel moreover badges the characters and especially Jay, with the all these social changes and the followers of these social trends. Jay is even ready to gain the wealth by any means whether it’s the right way or the wrong way. He is just doing so to impress Daisy, the girl who is his beloved (Fitzgerald and Prigozy).

This book widely possess all the main features of the Americans run for the wealth and keeping themselves highly renowned in the society, not with the aid of the noble actions but by increasing the wealth and the power to get what they desire for. The comforts they deserve I life was the name they used instead of calling the root cause, materialism (94).

This novel is a touchstone for all, which is being reread by many. This novel tells the story of Americans, how they started to get to the place where they are standing. This novel compasses and works as the alarm clock for the American people and their influence on the next generations. This novel is still the best seller in America.

Works Cited

Fitzgerald, S and R Prigozy. The great Gatsby. Oxford University Press, 1998.

University of Adelaide. “The Great Gatsby.” 2007. Web.

University of South California. 2003. A brief life of Fitzerland . Web.

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• Introduction

Life in West Egg and East Egg

Resurfacing gatsby’s past, a deadly crash and a shooting, setting and historical context, publication history, legacy, and adaptations, the meaning of the great gatsby.

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The Great Gatsby

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The Great Gatsby , novel by F. Scott Fitzgerald , published in 1925 by Charles Scribner’s Sons. Set in Jazz Age New York , it tells the story of Jay Gatsby , a self-made millionaire, and his pursuit of Daisy Buchanan, a wealthy young woman whom he loved in his youth .

Commercially unsuccessful when it was first published, The Great Gatsby —which was Fitzgerald’s third novel—is now considered a classic of American fiction and has often been called the Great American Novel.

• Who is Jay Gatsby, and what are the parties like at his house?
• How does Tom Buchanan react to the relationship that his wife, Daisy, has with Gatsby?
• What shocking event occurs when Daisy, seated beside Gatsby, is driving his car, and how does it affect everyone involved?
• How does The Great Gatsby capture the essence of the Jazz Age?
• How did The Great Gatsby ’s popularity change over time?
• What is the significance of West Egg vs. East Egg, and which wins in the end?

These AI-generated questions have been reviewed by Britannica’s editors.

Plot summary

The Great Gatsby is narrated by Nick Carraway , a Yale University graduate from the Midwest who moves to New York after World War I to pursue a career in bonds . He recounts the events of the summer he spent in the East two years later, reconstructing his story through a series of flashbacks not always told in chronological order.

In the spring of 1922, Nick takes a house in the fictional village of West Egg on Long Island , where he finds himself living among the colossal mansions of the newly rich. Across the water in the more refined village of East Egg live his cousin Daisy and her brutish, absurdly wealthy husband Tom Buchanan. Early in the summer Nick goes over to their house for dinner, where he also meets Jordan Baker, a friend of Daisy’s and a well-known golf champion, who tells him that Tom has a mistress in New York City . In a private conversation, Daisy confesses to Nick that she has been unhappy. Returning to his house in West Egg, he catches sight of his neighbor Jay Gatsby standing alone in the dark and stretching his arms out to a green light burning across the bay at the end of Tom and Daisy’s dock.

Early in July Tom introduces Nick to his mistress, Myrtle Wilson, who lives with her spiritless husband George Wilson in what Nick calls “a valley of ashes”: an industrial wasteland presided over by the bespectacled eyes of Doctor T.J. Eckleburg, which stare down from an advertising billboard. Meeting her at the garage where George works as a repairman, the three of them go to Tom and Myrtle’s apartment in Manhattan. They are joined by Myrtle’s sister and some other friends who live nearby, and the evening ends in heavy drunkenness and Tom punching Myrtle in the nose when she brings up Daisy. Nick wakes up in a train station the morning afterward.

As the summer progresses, Nick grows accustomed to the noises and lights of dazzling parties held at his neighbor’s house, where the famous and newly rich turn up on Saturday nights to enjoy Gatsby’s well-stocked bar and full jazz orchestra. Nick attends one of these parties when personally invited by Gatsby and runs into Jordan, with whom he spends most of the evening. He is struck by the apparent absence of the host and the impression that all of his guests seem to have dark theories about Gatsby’s past. However, Nick meets him at last in a rather quiet encounter later in the evening when the man sitting beside him identifies himself as Gatsby. Gatsby disappears and later asks to speak to Jordan privately. Jordan returns amazed by what he has told her, but she is unable to tell Nick what it is.

Nick begins seeing Jordan Baker as the summer continues, and he also becomes better acquainted with Gatsby. One afternoon in late July when they are driving into Manhattan for lunch, Gatsby tries to dispel the rumors circulating around himself, and he tells Nick that he is the son of very wealthy people who are all dead and that he is an Oxford man and a war hero. Nick is skeptical about this. At lunch he meets Gatsby’s business partner Meyer Wolfsheim, the man who fixed the World Series in 1919 (based on a real person and a real event from Fitzgerald’s day). Later, at tea, Jordan Baker tells Nick the surprising thing that Gatsby had told her in confidence at his party: Gatsby had known Nick’s cousin Daisy almost five years earlier in Louisville and they had been in love, but then he went away to fight in the war and she married Tom Buchanan. Gatsby bought his house on West Egg so he could be across the water from her.

At Gatsby’s request, Nick agrees to invite Daisy to his house, where Gatsby can meet her. A few days later he has them both over for tea, and Daisy is astonished to see Gatsby after nearly five years. The meeting is at first uncomfortable, and Nick steps outside for half an hour to give the two of them privacy. When he returns, they seem fully reconciled , Gatsby glowing with happiness and Daisy in tears. Afterward they go next door to Gatsby’s enormous house, and Gatsby shows off its impressive rooms to Daisy.

As the days pass, Tom becomes aware of Daisy’s association with Gatsby. Disliking it, he shows up at one of Gatsby’s parties with his wife. It becomes clear that Daisy does not like the party and is appalled by the impropriety of the new-money crowd at West Egg. Tom suspects that Gatsby is a bootlegger, and he says so. Voicing his dismay to Nick after the party is over, Gatsby explains that he wants Daisy to tell Tom she never loved him and then marry him as though the years had never passed.

Gatsby’s wild parties cease thereafter, and Daisy goes over to Gatsby’s house in the afternoons. On a boiling hot day near the end of the summer, Nick arrives for lunch at the Buchanans’ house; Gatsby and Jordan have also been invited. In the dining room, Daisy pays Gatsby a compliment that makes clear her love for him, and, when Tom notices this, he insists they drive into town.

Daisy and Gatsby leave in Tom’s blue coupe, while Tom drives Jordan and Nick in Gatsby’s garish yellow car. On the way, Tom stops for gas at George Wilson’s garage in the valley of ashes, and Wilson tells Tom that he is planning to move west with Myrtle as soon as he can raise the money. This news shakes Tom considerably, and he speeds on toward Manhattan, catching up with Daisy and Gatsby.

The whole party ends up in a parlor at the Plaza Hotel, hot and in bad temper . As they are about to drink mint juleps to cool off, Tom confronts Gatsby directly on the subject of his relationship with Daisy. Daisy tries to calm them down, but Gatsby insists that Daisy and he have always been in love and that she has never loved Tom. As the fight escalates and Daisy threatens to leave her husband, Tom reveals what he learned from an investigation into Gatsby’s affairs—that he had earned his money by selling illegal alcohol at drugstores in Chicago with Wolfsheim after Prohibition laws went into effect. Gatsby tries to deny it, but Daisy has lost her resolve, and his cause seems hopeless. As they leave the Plaza, Nick realizes that it is his 30th birthday.

Gatsby and Daisy leave together in Gatsby’s car, with Daisy driving. On the road they hit and kill Myrtle, who, after having a vehement argument with her husband, had run into the street toward Gatsby’s passing car, thinking it was Tom. Terrified, Daisy continues driving, but the car is seen by witnesses. Coming behind them, Tom stops his car when he sees a commotion on the road. He is stunned and devastated when he finds the body of his mistress dead on a table in Wilson’s garage.

Wilson accusingly tells him it was a yellow car that hit her, but Tom insists it was not his and drives on to East Egg in tears. Back at the Buchanans’ house in East Egg, Nick finds Gatsby hiding in the garden and learns that it was Daisy who was driving, though Gatsby insists that he will say it was he if his car is found. He says he will wait outside Daisy’s house in case Tom abuses Daisy.

The next morning Nick goes over to Gatsby’s house, where he has returned, dejected . Nick advises him to go away, afraid that his car will be traced. He refuses, and that night he tells Nick the truth about his past: he had come from a poor farming family and had met Daisy in Louisville while serving in the army, but he was too poor to marry her at the time. He earned his incredible wealth only after the war (by bootlegging , as Tom discovered).

Reluctantly, Nick leaves for work, while Gatsby continues to wait for a call from Daisy. That afternoon, George Wilson arrives in East Egg, where Tom tells him that it was Gatsby who killed his wife. Wilson makes his way to Gatsby’s house, where he finds Gatsby in his pool. Wilson shoots Gatsby and then himself. Afterward the Buchanans leave Long Island. They give no forwarding address. Nick arranges Gatsby’s funeral, although only two people attend , one of whom is Gatsby’s father. Nick moves back to the Midwest, disgusted with life in the East.

Set in the Jazz Age (a term popularized by Fitzgerald), The Great Gatsby vividly captures its historical moment: the economic boom in America after World War I, the new jazz music, the free-flowing illegal liquor. As Fitzgerald later remarked in an essay about the Roaring Twenties , it was “a whole race going hedonistic, deciding on pleasure.”

According to F. Scott Fitzgerald, the 1920s witnessed “a whole race going hedonistic, deciding on pleasure.”

The brazenly lavish culture of West Egg is a reflection of the new prosperity that was possible during Prohibition , when illegal schemes involving the black-market selling of liquor abounded. Such criminal enterprises are the source of Gatsby’s income and finance his incredible parties, which are probably based on parties Fitzgerald himself attended when he lived on Long Island in the early 1920s.

The racial anxieties of the period are also evident in the novel; Tom’s diatribe on The Rise of the Colored Empires —a reference to a real book published in 1920 by the American political scientist Lothrop Stoddard—points to the burgeoning eugenics movement in the United States during the early 20th century.

Fitzgerald finished The Great Gatsby in early 1925 while he was living in France, and Scribner’s published it in April of the same year. Fitzgerald struggled considerably in choosing a title, toying with Trimalchio and Under the Red, White and Blue , among others; he was never satisfied with the title The Great Gatsby , under which it was ultimately published.

The illustration for the novel’s original dust jacket was commissioned by Fitzgerald’s editor Maxwell Perkins seven months before he was in possession of the finished manuscript. It was designed by Francis Cugat, a Spanish-born artist who did Hollywood movie posters, and depicts the eyes of a woman hanging over the carnival lights of Coney Island . The design was well-loved by Fitzgerald, and he claimed in a letter to Perkins that he had written it into the book, though whether this refers to the eyes of Doctor Eckleburg or something else is uncertain. Cugat’s painting is now one of the most well-known and celebrated examples of jacket art in American literature .

While Fitzgerald considered The Great Gatsby to be his greatest achievement at the time it was published, the book was neither a critical nor a commercial success upon publication. Reviews were mixed, and the 20,000 copies of its first printing sold slowly. It was printed one more time during Fitzgerald’s life, and there were still copies unsold from this second printing when he died in 1940.

The Great Gatsby was rediscovered a few years later and enjoyed an exponential growth in popularity in the 1950s, soon becoming a standard text of high-school curricula in the United States. It remains one of Scribner’s best sellers, and it is now considered a masterpiece of American fiction. In 2021 it entered the public domain in the United States.

There have been several film adaptations of the novel, most notably a production directed by Jack Clayton in 1974, starring Robert Redford as Gatsby, and one in 2013 directed by Baz Luhrmann , starring Leonardo DiCaprio .

Above all, The Great Gatsby has been read as a pessimistic examination of the American Dream . At its center is a remarkable rags-to-riches story, of a boy from a poor farming background who has built himself up to fabulous wealth. Jay Gatsby is someone who once had nothing but who now entertains rich and celebrated people in his enormous house on Long Island. However, even though Gatsby’s wealth may be commensurate with the likes of Tom Buchanan’s, he is ultimately unable to break into the “distinguished secret society” of those who were born wealthy. His attempt to win Daisy Buchanan, a woman from a well-established family of the American elite, ends in disaster and his death.

This tension between “new money” and “old money” is represented in the book by the contrast between West Egg and East Egg. West Egg is portrayed as a tawdry, brash society that “chafed under the old euphemisms,” full of people who have made their money in an age of unprecedented materialism. East Egg, in contrast, is a refined society populated by America’s “staid nobility,” those who have inherited their wealth and who frown on the rawness of West Egg. In the end, it is East Egg that might be said to triumph: while Gatsby is shot and his garish parties are dispersed, Tom and Daisy are unharmed by the terrible events of the summer.

The Great Gatsby is memorable for the rich symbolism that underpins its story. Throughout the novel, the green light at the end of Daisy’s dock is a recurrent image that beckons to Gatsby’s sense of ambition. It is a symbol of “the orgastic future” he believes in so intensely, toward which his arms are outstretched when Nick first sees him. It is this “extraordinary gift for hope” that Nick admires so much in Gatsby, his “heightened sensitivity to the promises of life.” Once Daisy is within Gatsby’s reach, however, the “colossal significance” of the green light disappears. In essence, the green light is an unattainable promise, one that Nick understands in universal terms at the end of the novel: a future we never grasp but for which we are always reaching. Nick compares it to the hope the early settlers had in the promise of the New World. Gatsby’s dream fails, then, when he fixates his hope on a real object, Daisy. His once indefinite ambition is thereafter limited to the real world and becomes prey to all of its corruption.

The valley of ashes—an industrial wasteland located between West Egg and Manhattan—serves as a counterpoint to the brilliant future promised by the green light. As a dumping ground for the refuse of nearby factories, it stands as the consequence of America’s postwar economic boom, the ugly truth behind the consumer culture that props up newly rich people like Gatsby. In this valley live men like George Wilson who are “already crumbling.” They are the underclasses that live without hope, all the while bolstering the greed of a thriving economy. Notably, Gatsby does not in the end escape the ash of this economy that built him: it is George Wilson who comes to kill him, described as an “ashen” figure the moment before he shoots Gatsby.

Over the valley of ashes hover the bespectacled eyes of Doctor T.J. Eckleburg, which appear on the advertising billboard of an oculist. These eyes almost become a moral conscience in the morally vacuous world of The Great Gatsby ; to George Wilson they are the eyes of God. They are said to “brood” and “[keep] their vigil” over the valley, and they witness some of the most corrupt moments of the novel: Tom and Myrtle’s affair, Myrtle’s death, and the valley itself, full of America’s industrial waste and the toiling poor. However, in the end they are another product of the materialistic culture of the age, set up by Doctor Eckleburg to “fatten his practice.” Behind them is just one more person trying to get rich. Their function as a divine being who watches and judges is thus ultimately null , and the novel is left without a moral anchor.