the great gatsby book review pdf

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 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.

The Great Gatsby Review ⭐

The great gatsby historical context 🍾, the great gatsby themes and analysis 🍾, the great gatsby quotes 💬, the great gatsby summary 🍾, the great gatsby characters 🍾, about emma baldwin.

Emma Baldwin, a graduate of East Carolina University, has a deep-rooted passion for literature. She serves as a key contributor to the Book Analysis team with years of experience.

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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.

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Critical Overview of "The Great Gatsby" by F. Scott Fitzgerald

Discussing the plot, main character, and theme of an American classic

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The Great Gatsby is F. Scott Fitzgerald's greatest novel—a book that offers damning and insightful views of the American nouveau riche in the 1920s. The Great Gatsby is an American classic and a wonderfully evocative work.

Like much of Fitzgerald's prose, it is neat and well-crafted. Fitzgerald has a brilliant understanding of lives that are corrupted by greed and turn out incredibly sad and unfulfilled. He was able to translate this understanding into one of the finest pieces of literature of the 1920s . The novel is a product of its generation—with one of American literature's most powerful characters in the figure of Jay Gatsby, who is urbane and world-weary. Gatsby is really nothing more than a man desperate for love.

The Great Gatsby Overview

The novel's events are filtered through the consciousness of its narrator, Nick Carraway, a young Yale graduate, who is both a part of and separate from the world he describes. Upon moving to New York, he rents a house next door to the mansion of an eccentric millionaire (Jay Gatsby). Every Saturday, Gatsby throws a party at his mansion and all the great and the good of the young fashionable world come to marvel at his extravagance (as well as swap gossipy stories about their host who—it is suggested—has a murky past).

Despite his high-living, Gatsby is dissatisfied and Nick finds out why. Long ago, Gatsby fell in love with a young girl, Daisy. Although she has always loved Gatsby, she is currently married to Tom Buchanan. Gatsby asks Nick to help him meet Daisy once more, and Nick finally agrees—arranging tea for Daisy at his house.

The two ex-lovers meet and soon rekindle their affair. Soon, Tom begins to suspect and challenges the two of them—also revealing something that the reader had already begun to suspect: that Gatsby's fortune was made through illegal gambling and bootlegging. Gatsby and Daisy drive back to New York. In the wake of the emotional confrontation, Daisy hits and kills a woman. Gatsby feels that his life would be nothing without Daisy, so he takes the blame.

George Wilson—who discovers that the car that killed his wife belongs to Gatsby—comes to Gatsby's house and shoots him. Nick arranges a funeral for his friend and then decides to leave New York—saddened by the fatal events and disgusted by the way lived their lives.

Gatsby's Character and Societal Values

The power of Gatsby as a character is inextricably linked to his wealth. From the very beginning of The Great Gatsby , Fitzgerald sets up his eponymous hero as an enigma: the playboy millionaire with the shady past who can enjoy the frivolity and ephemera that he creates around him. However, the reality of the situation is that Gatsby is a man in love. Nothing more. He concentrated all of his life on winning Daisy back.

It is the way that he attempts to do this, however, that is central to Fitzgerald's world-view. Gatsby creates himself—both his mystique and his personality—around rotten values. They are the values of the American dream—that money, wealth, and popularity are all there is to achieve in this world. He gives everything he has—emotionally and physically—to win, and it is this unrestrained desire that contributes to his eventual downfall.

Social Commentary About Decadence

In the closing pages of The Great Gatsby , Nick considers Gatsby in a wider context. Nick links Gatsby with the class of people with whom he has become so inextricably associated. They are the society persons so prominent during the 1920s and 1930s. Like his novel The Beautiful and the Damned , Fitzgerald attacks the shallow social climbing and emotional manipulation—which only causes pain. With a decadent cynicism, the party-goers in The Great Gatsby cannot see anything beyond their own enjoyment. Gatsby's love is frustrated by the social situation and his death symbolizes the dangers of his chosen path.

F. Scott Fitzgerald paints a picture of a lifestyle and a decade that is both fascinating and horrific. In so doing, he captures a society and a set of young people; and he writes them into legend. Fitzgerald was a part of that high-living lifestyle, but he was also a victim of it. He was one of the beautiful but he was also forever damned. In all its excitement—pulsating with life and tragedy— The Great Gatsby brilliantly captures the American dream in a time when it had descended into decadence.

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A Review of the Great Gatsby

This is a review about the Great Gatsby by F.Scott Fitzgerald

Related Papers

The American Novel from Hawthorne to Heller:Cultural Contexts and Critical Perspectives, eds. Ashok K Mohapatra, Pritha Chakraborty, Sharbani Banerjee Mukherjee

Niranjan Goswami

It is apparent that Fitzgerald had not only represented the commercialism, consumerism and carelessness of the Jazz Age in the best fashion, he had himself become the Age by moulding his life in an equally careless way. The “gaudy spree” of the age is not better represented in any other work than The Great Gatsby. The melancholy tone of jazz music can best be heard in Gatsby’s parties in their opulent consumerism, violent drinking and dispirited humanity: yet the hollowness of it all becomes apparent when the reader learns that Gatsby himself is not interested in all this because he hosts the parties to attract only one woman, Daisy. The superficiality of the motive of the disinterested host can only be redeemed with the full understanding of the symbolic significance of the quest; till then the noise is only of decadence.

COLLOQUY text theory critique translation (2016). © Monash University.

Allira Hanczakowski

Translation review

Shivangi Negi

Journal of American Studies

Dora Tsimpouki

Farah Hussein Ragab Mahmoud , Farah Hussein

Ahmed Maklad

The thesis explores how the literary status of Fitzgerald’s novel published in 1925 evolved from being dismissed to becoming a canonical work of American Literature after the death of its author. The role of criticism and adaptations and how they intertwined to popularize the novel among the academic elite and the general public is examined. Four critical studies in different decades of recent history are analyzed to show the different approaches to the novel as well as its relation to the American Dream. The thesis suggests that the four critical studies discussed reflect viewpoints impacted by the cultural and socio-economic factors that marked the decade of their appearance: Kermit Moyer (1973), Ross Posnock (1984), Ray Canterbery (1999), and Benjamin Shreier (2007). Their approaches demonstrate the many ways The Great Gatsby can be viewed and thus its richness as a text. The three film adaptations of the novel in turn depict directors’ take on the novel as well as exhibiting the limitations, predilections, and technical possibilities of the time of their production: Nugent’s (1949), Clayton’s (1974), and Luhrmann’s (2013). The controversial aspects of these adaptations as indicated by reviews and articles, which evaluate them as to how they present Gatsby and the American Dream, have increased the debate and the interest in the novel. Though the novel is located in the U.S. in the Roaring Twenties associated with the Jazz Age, it continues to speak to present audience by evoking issues related to class, mobility, ethics, and romance.

Madoka Kajihara

The purpose of this study is to demonstrate Fitzgerald's greatness as a fiction writer and accordingly the value of his novel, The Great Gatsby. The secret of his creating fiction is not the detailed description, but the empty space which he left in the novel. The unidentified elements are what Fitzgerald intended to make, and as a result, the novel holds some ambiguity. However, a lack of detailed description never decreases the quality as a fiction, but rather elicits a fascinating effect on the novel. The author paid attention to this mysterious phenomenon, and tried to reveal it by considering his sense of creation as a fiction writer.

William Cain

Guy Reynolds

Joseph Vogel

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The Great Gatsby

F. scott fitzgerald.

Ask LitCharts AI: The answer to your questions

Welcome to the LitCharts study guide on F. Scott Fitzgerald's The Great Gatsby . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

The Great Gatsby: Introduction

The great gatsby: plot summary, the great gatsby: detailed summary & analysis, the great gatsby: themes, the great gatsby: quotes, the great gatsby: characters, the great gatsby: symbols, the great gatsby: literary devices, the great gatsby: quizzes, the great gatsby: theme wheel, brief biography of f. scott fitzgerald.

Historical Context of The Great Gatsby

Other books related to the great gatsby.

• Full Title: The Great Gatsby
• Where Written: Paris and the US, in 1924
• When Published: 1925
• Literary Period: Modernism
• Genre: Novel
• Setting: Long Island, Queens, and Manhattan, New York in the summer of 1922
• Climax: The showdown between Gatsby and Tom over Daisy
• Point of View: First person

Extra Credit for The Great Gatsby

Puttin' on the Fitz. Fitzgerald spent most of his adult life in debt, often relying on loans from his publisher, and even his editor, Maxwell Perkins, in order to pay the bills. The money he made from his novels could not support the high-flying cosmopolitan life his wife desired, so Fitzgerald turned to more lucrative short story writing for magazines like Esquire. Fitzgerald spent his final three years writing screenplays in Hollywood.

Another Failed Screenwriter. Fitzgerald was an alcoholic and his wife Zelda suffered from serious mental illness. In the final years of their marriage as their debts piled up, Zelda stayed in a series of mental institutions on the East coast while Fitzgerald tried, and largely failed, to make money writing movie scripts in Hollywood.

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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.

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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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