DOCSLIB.ORG

Gatsby: False Prophet of the American Dream Author(S): Roger L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gatsby: False Prophet of the American Dream Author(S): Roger L Gatsby: False Prophet of the American Dream Author(s): Roger L. Pearson Reviewed work(s): Source: The English Journal, Vol. 59, No. 5 (May, 1970), pp. 638-642+645 Published by: National Council of Teachers of English Stable URL: http://www.jstor.org/stable/813939 . Accessed: 08/01/2012 20:55 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. National Council of Teachers of English is collaborating with JSTOR to digitize, preserve and extend access to The English Journal. http://www.jstor.org Gatsby: False Prophet of the American Dream Roger L. Pearson Department of English Providence College Providence, Rhode Island T may do well to preface this paper man it was "the word Democratic, the with some remarksconcerning the con- word En Masse." cept of the Americandream. The Ameri- F. Scott Fitzgerald has come to be can dream,or myth, is an ever recurring associatedwith this concept of the Amer- theme in American literature, dating ican dreammore so than any other writer back to some of the earliest colonial of the twentieth century. In fact, the writings. Briefly defined, it is the belief American dream has been for Fitzgerald that every man, whatever his origins, what the theme of the separatepeace has may pursue and attain his chosen goals, been for Ernest Hemingway-the focal be they political, monetary, or social. It point or building block for much, if not is the literary expressionof the concept all, of his work. However, Fitzgerald's of America: the land of opportunity. uniqueexpression of the Americandream This motif has found its voice in such lacks the optimism, the sense of fulfill- diverse men of letters as William Brad- ment, so evident in the expressionsof his ford and Walt Whitman, St. Jean de predecessors. Crevecoeur and Ralph Waldo Emerson, Cast in the frameworkof a metaphor, Thomas Jefferson and BenjaminFrank- the aforementioned exponents of the lin. American dream were the Old Testa- The varying shadow that these men ment prophets predicting the coming of cast serve as testimony to the myriad a golden age, complete with a messiah forms which this theme assumes. To who was to be the epitome of the word Bradford and his fellow Puritans, the "American."Gatsby is Fitzgerald's an- American dreamwas embodiedin spirit- swer. To Fitzgeraldthe long prophesied ual fulfillment; to Jefferson it was the American dream had its fulfillment in flower of political fulfillment springing the "orgiastic"post World War I period from the seed of the perfectability of known as "the Roaring Twenties." He man; de Crevecoeur and Franklin was the self appointedspokesman for the preached the gospel of the self-made "Jazz Age," a term he takes credit for man. Emerson saw the American dream coining, and he gave it its arch-high as the opportunity "to ask questions for priest and prophet, Jay Gatsby, in his which man was made." And to Whit- novel The Great Gatsby.l 638 FALSE PROPHET OF THE AMERICAN DREAM 639 Gatsby is aptly suited for the role of interpretations. The former is too imagi- arch-high priest because he is the persona native, while the latter is too short- and chief practitioner of the hedonism sighted. Concerning the approach adopt- that marked this period. He is also its ed in "The Gospel of Gatsby," it ap- unwitting prophet, for his failure and pears, for purposes of completeness, that destruction serve as a portent for the the lobster has been fitted to the shell eclipse of the American dream, and the rather than the shell to the lobster. Tan- passing away of an era. It is with this ner's interpretation is too orthodox and prophet image that this paper will chiefly formulistic. You cannot superimpose an deal. equation over this or any novel and come out with a pat answer. T HE suggestion that The Great Gats- I believe that Fitzgerald is much like by may contain religious implications Hemingway in his symbolic technique in is not a new idea. Such an interpretation The Great Gatsby, in that he projects a has been thoroughly discussed in an series of variations in his imagery so as to article entitled "The Gospel of Gatsby," achieve a cumulative effect. To be sure, by Bernard Tanner, who sees the novel as will be later pointed out in this paper, as a "jazz parody" of the Gospel of St. Fitzgerald does, at times, become ortho- John dealing with the life of Christ. dox and even formulistic to a degree in Gatsby is characterized as an "inverted The Great Gatsby. However, he achieves Christ" in this drama, and the rest of the a totality of expression by introducing dramatis personae are neatly fitted in, motifs that give the reader a slightly dif- perhaps too neatly, to this allegorical fering perspective of Gatsby, while al- framework. To wit: Nick Carraway is ways moving in a specific direction. Nicodemus, the Pharisee; Dan Cody is Hence, Gatsby is no shallow stereotype. St. John the Baptist with his femme Instead, he has depth and complexity. fatale, Salome, in the guise of Ella Kaye; and Meyer Wolfsheim is St. Peter com- T HERE is a religious design in The plete with three denials. These charac- Great Gatsby, and it has its basis in ters, plus others, act out their parts in Jay Gatsby himself. Nick Carraway, the the gospel, carrying out such events as narrator and interpreter of the novel, de- the marriage feast at Cana, various para- scribes Gatsby thus: bles, Judas' betrayal, and Christ's cruci- fixion (English Journal, September 1965). The truth was that Jay Gatsby of West Still yet another critic, A. E. Dyson, Egg, Long Island, sprang from his in his article, "The Great Gatsby: Platonic conception of himself. He was a son of God-a if it Thirty-six Years After," adopts the op- phrase which, in that he maintains that means anything, means just that-and posite extreme, His Father's Dr. T. "is the he must be about business, J. Eckleburg only religious the service of a and mere- reference" in this novel.2 vast, vulgar, tricious beauty.3 I can accept neither of these two It should be noted that Gatsby is "a son of not the God of divine 1 From a letter to Maxwell Perkins, May 1931. God," however, Fitzgerald dates the "Jazz Age" from "the sup- love, but the God of material love- pression of the riots on May Day to the crash Mammon. Rather than an "inverted of the stock market in 1929-almost one exactly Christ" or God, Gatsby is a perverted decade." one who is dedicated to the 2A. E. Dyson, "The Great Gatsby: Thirty- God; physi- six Years After," in Arthur Mizener, ed., Twen- tieth Century Views: F. Scott Fitzgerald (En- 3F. Scott Fitzgerald, The Great Gatsby glewood Cliffs: Prentice-Hall), p. 113. (New York: Scribner's Sons, 1953), p. 99. 640 ENGLISH JOURNAL cal rather than the spiritual world. Gats- factual imitation of some Hotel de Ville in with a by has come to espouse the gospel of the Normandy, tower on one American dream. His existence side, spanking new under a thin beard corrupted of raw and a is founded on a a delusion, and he ivy, marble swimming lie, and than acres of terms this monstrous lie "God's truth" pool, more forty lawn and It was man- in to Nick his garden. Gatsby's relating past. sion (p. 5). His hand ordered divine right suddenly This has overtones of Babel retribution to stand by. "I am the son description of some in the Middle with its tower when viewed in the con- wealthy people tent that it is "who West-all dead now. I was brought up inhabited by people in America but educated at Oxford, never knew each other's names" (p. 40). because all my ancestors have been ed- Also, "confused and intriguing sounds" ucated there for many years. It is a emanate from it during Gatsby's parties family tradition"(p. 65). (p. 51). Fitzgerald has Nick describe one such as a "bizarre and tumult- While relates his Nick party Gatsby "past," uous scene" terminating in a "harsh, dis- wonders if "there wasn't something a cordant din of violent confusion" (p. little sinister about him, after all" (p. 65). continues: 54). Gatsby The beauty of this image of Gatsby's house is that it is a dual one. It seems that "My family all died and I came into a good deal of money." Fitzgerald has created a twentieth-century "After that I lived like a young rajah in replica-"a factual imitation"-of Mil- all the capitals of Europe-Paris, Venice, ton's Pandemonium. The image is further Rome,-collecting jewels, chiefly rubies, solidified in that Mammon was its chief hunting big game, painting a little, architect and builder. The that for and to lights things myself only, trying decorate the mansion, the expensiveness sad that had hap- forget something very of its appointments, the opulence of its pened to me long ago"4 library, all contribute to this image. Gatsby continues his yarn, including in it his war heroics and the decorations FITZGERALD appearsdeliberately to and adulation that he received contribute to the God-like image of allegedly him from the for his deeds.
Load more

Recommended publications
  • The Great Gatsby</Em>
    Illinois Mathematics and Science Academy DigitalCommons@IMSA 2010 Spring Semester Award for Excellence in Expository Writing Spring 2010 Puppies, Pearls, and Corpses on the Road: F. Scott Fitzgerald’s Treatment of Women in The Great Gatsby Eleanor Cory '12 Illinois Mathematics and Science Academy, [email protected] Follow this and additional works at: http://digitalcommons.imsa.edu/spring2010 Part of the Literature in English, North America Commons Recommended Citation Cory, Eleanor '12, "Puppies, Pearls, and Corpses on the Road: F. Scott itzF gerald’s Treatment of Women in The Great Gatsby" (2010). 2010 Spring Semester. Paper 6. http://digitalcommons.imsa.edu/spring2010/6 This Sophomore Award Winner is brought to you for free and open access by the Award for Excellence in Expository Writing at DigitalCommons@IMSA. It has been accepted for inclusion in 2010 Spring Semester by an authorized administrator of DigitalCommons@IMSA. For more information, please contact [email protected], [email protected]. Eleanor Cory LE II Wells “Puppies, Pearls, and Corpses on the Road: F. Scott Fitzgerald’s Treatment of Women in The Great Gatsby” “…That’s the best thing a girl can be in this world, a beautiful little fool” (21). These are the words of Daisy Buchanan, a woman around whom the entire novel seems to revolve. Her story is one of a woman who loses her first love and instead marries a man who proved unfaithful and angry. Knowing that the story was written as a critique of society at the time, one might expect Daisy to eventually empower herself to leave this situation and escape the stereotype of the weak woman.
    [Show full text]
  • The Great Gatsby (2013)’ Movie
    FLAPPERS LIFESTYLE AS REFLECTED IN ‘THE GREAT GATSBY (2013)’ MOVIE A THESIS In Partial Fulfillment of the Requirements for S-1 Degree Majoring American Study in English Department Faculty of Humanities Diponegoro University Submitted by: SafiraAnindyaputeri 13020111130074 FACULTY OF HUMANITIES DIPONEGORO UNIVERSITY SEMARANG 2016 PRONOUNCEMENT I states truthfully that this project is compiled by me without taking the results from other research in any university, in S-1, S-2, and S-3 degree and diploma. In addition, I ascertain that I do not take the material from other publications or someone’s work except for the references mentioned in the bibliography. Semarang, August 2015 SafiraAnindyaputeri ii MOTTO AND DEDICATION Nothing in the world can trouble you as much as your own thoughts. - Sri Sri Ravi Shankar Keep saying ‘even so’. - Marida Cruz This thesis is dedicated to myself, my family, and BayuSatryaYudha. Also, for Leonardo DiCaprio. Congratulations for winning your very first Oscar, even though it has nothing to do with the film I used for this thesis. iii APPROVAL iv VALIDATION Approved by Strata 1 Thesis Examination Committee Faculty of Humanities Diponegoro University On August 2016 v ACKNOWLEDGEMENT Praise be to God the Almighty who has given mercy, blessing, strength, and guidance so this thesis entitled “Flappers Lifestyle as Reflected in The Great Gatsby (2013) Movie” came to a completion. On this occassion, I would like to thank all those people who have helped me in completing this thesis. The deepest gratitude and appreciation are extended to Ms. SukarniSuryaningsih, S.S., M.Hum, who has given her continuous support, advice, and suggestions in the completion of this thesis.
    [Show full text]
  • Jordan 1 Matthew Thomas Jordan Professor Howell Tutorial 9 March 2018 a Romantic Readiness
    Jordan 1 Matthew Thomas Jordan Professor Howell Tutorial 9 March 2018 A Romantic Readiness: The Virtue of Hope and the Fiction of F. Scott Fitzgerald Not a whit. We defy augury. There is a special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come. The readiness is all. Since no man of aught he leaves knows, what is 't to leave betimes? Let be. (Hamlet, V.ii.233-238) The theological virtue of hope has often been confused or mistaken for a conversational meaning of hope. Often saying one hopes for something is interchangeable with saying that one has the wish for something or the desire that something come to pass. This type of hope indicates the attractiveness of something that is by no means certain. If it was certain, why would we hope for it? The theological virtue of hope is not so. Hope is essential for the Christian and yet what we hope for is certain. Abraham, the father of our faith, lived a life in which the only way he could fulfill his purpose was to live by faith and hope, specifically when the Lord promises him that he will bear a son around the age of 100. Instead of wavering at his dismal physical circumstances, Abraham hopes against hope and grows in faith, “Fully convinced that God was able to do what he promised” (Rom. 4:21). Faith (a rational power) and hope (a passional power) are the means by which Abraham fully commits himself to that disposition of hope: being convinced that God will do what He has promised.
    [Show full text]
  • The Short Stories of F. Scott Fitzgerald As Part of an Ongoing Series for the Lewis and Clark Library's Adult Education Progra
    The Short Stories of F. Scott Fitzgerald As part of an ongoing series for The Lewis and Clark Library’s Adult Education program, Randall LeCocq is offering a class/discussion group on the short stories of F. Scott Fitzgerald. Classes will be held Wednesday mornings from 10 to 11:30 AM, in the Library’s large meeting room. A registration sheet is available at the Information Desk, which has handouts of the assigned readings. For the website: The class will look at Fitzgerald’s life and work, focusing on five of his most highly acclaimed short stories. Using these stories, we will examine some of Fitzgerald’s central themes: young love and the loss of illusion, the perils of wealth, and “emotional bankruptcy” which comes from fast living. The five short stories will take us through four phases of Fitzgerald’s life, from early success, through Expatriate life in Europe, to Zelda’s breakdown and his own “crack up,” and eventually to his own rejuvenation. We will conclude with Fitzgerald’s non-fiction essays commenting on the Jazz Age and Great Depression, and causes for his own decline. Randall LeCocq, a Helena resident, holds a Master’s Degree in Liberal Studies from Georgetown University, where he specialized in literature and art history. He has taught previous courses at the Library on the novels and short stories of Ernest Hemingway and William Faulkner. Class Schedule: May 23: “Winter Dreams” (1922) May 30: “Absolution” (1924) June 6: “The Rich Boy” (1926) June 13: “The Rough Crossing” (1929) June 20: “Babylon Revisited” (1931), plus autobiographical excerpts from “My Lost City,” (1932) “Echoes of the Jazz Age,” (1931) and “The Crack Up.” (1936) .
    [Show full text]
  • F Scott Fitzgerald's New York
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1993 His Lost City: F Scott Fitzgerald's New York Kris Robert Murphy College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Murphy, Kris Robert, "His Lost City: F Scott Fitzgerald's New York" (1993). Dissertations, Theses, and Masters Projects. Paper 1539625818. https://dx.doi.org/doi:10.21220/s2-zdpj-yf53 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. HIS LOST CITY: F. SCOTT FITZGERALD’S NEW YORK A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Kris R. Murphy 1993 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, July 1993 Scott Donaldson Christopher MacGowan Robert Maccubbin TABLE OF CONTENTS Page ACKNOWLEDGEMENTS.............................................................................................iv ABSTRACT.............................................................................. ...................................... v CHAPTER I. ‘The far away East. .the vast, breathless bustle of New York”. 3 CHAPTER II. “Trips to New York” (1907-1918)........................................................ 11 CHAPTER III. ‘The land of ambition and success” (1919-1920) ................................ 25 CHAPTER IV. ‘The great city of the conquering people” (1920-1921)...................... 53 CHAPTER V.
    [Show full text]
  • A Study of Daisy Buchanan's Influence on Jay Gatsby in F. Scott
    A Study of Daisy Buchanan’s influence on Jay Gatsby in F. Scott Fitzgerald’s The Great Gatsby En undersökning av Daisy Buchanans inflytande på Jay Gatsby i F. Scott Fitzgeralds Den store Gatsby Hanna Persson Faculty: Art and Social Sciences Subject: English literature Points: 15 credits Supervisor: Åke Bergvall Examiner: Marinette Grimbeek Date 2019-03-20 Persson2 Abstract This essay will focus on the relationship between Daisy Buchanan and Jay Gatsby in the novel The Great Gatsby (1925). By examining their relationship, I will show that it is through Daisy’s influence that Gatsby evolves in to the man we meet in the novel, and that she is a main reason behind Gatsby’s untimely death. To Gatsby, the innocent and naive Daisy comes to embody the American dream, in other words wealth and social status, a goal he will have reached by winning her hand. Furthermore, I aim to show that it is this longing for wealth and social status associated with Daisy that results in Gatsby becoming a villain. By doing so, his American dream will make him into a victim, costing him his life. In showing this, I will emphasize the importance of Daisy’s voice and how it is used to give her control over the men in her vicinity, Gatsby not the least. Keywords: Gatsby, Daisy, voice, wealth, status Sammanfattning Denna uppsats kommer att fokusera på Daisy Buchanan och Jay Gatsbys förhållande i novellen Den Stora Gatsby (1925). Genom att undersöka deras förhållande ämnar jag visa att det är genom Daisys inflytande som Gatsby utvecklas till den vi möter i novellen, samt att det är hon som är den bakomliggande orsaken till Gatsbys förtidiga död.
    [Show full text]
  • Chapter 1 - Summary
    Chapter 1 - Summary - Straight away Nick introduces Gatsby as an idealised figure. Immediately we have to ask ourselves – is Nick a trustworthy narrator? Can we trust his opinion? - Before this even, the importance of class distinctions is made very obvious - Tom and Daisy have an unhealthy relationship – there seems to be tension and he is very dominating - The effect of wealth on people seems to be cynicism and being bored with the world - Our first impressions of Daisy in particular. She hopes her daughter will be a fool – she thinks it is more important to be unconcerned with the problems of society – it is better for her to be superficial perhaps Chapter 1 ‘ ‘Whenever you feel like criticising We learn Nick isn’t from a poor anyone,’ he told me, ‘just remember that background, but he is very aware of class all people in this world haven’t had the distinctions. He says people from all advantages that you’ve had.’’ Nick classes seem to confide in him, and because of that he feels ABOVE the class system – arrogant? Untrue? Contradictory ‘a sense of the fundamental decencies is He says he’s aware of inequality, and shows parcelled out unequally at birth.’ (7) he’s quite open-minded. ‘An extraordinary gift for hope.’ (8) On Gatsby. Nick is inspired by Gatsby, and admires him ‘No – Gatsby turned out all right in the Very early on, Nick Gatsby is not to blame end; it was what preyed on Gatsby, what for anything. He is framed as a good man – foul dust floated in the wake of his dreams not very unbiased.
    [Show full text]
  • Upper Class Women in Three Novels of the 1920S Ellen S
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1998 Daisy Buchanan, Fran Dodsworth, Kate Clephane: upper class women in three novels of the 1920s Ellen S. Protheroe Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the American Literature Commons, Literature in English, North America Commons, and the Women's Studies Commons Recommended Citation Protheroe, Ellen S., "Daisy Buchanan, Fran Dodsworth, Kate Clephane: upper class women in three novels of the 1920s" (1998). Retrospective Theses and Dissertations. 186. https://lib.dr.iastate.edu/rtd/186 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Daisy Buchanan, Fran Dodsworth, Kate Clephane: Upper class women in three novels of the 1920s by Ellen Suzanne Protheroe A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Major Professor: Mary Helen Dunlop Iowa State University Ames, Iowa 1998 11 Graduate College Iowa State University This is to certify that the Master's thesis of Ellen Suzanne Protheroe has met the thesis requirements of Iowa State University Major Professor For the Major Program For the Graduate College 111 TABLE OF CONTENTS INTRODUCTION 1 CHAPTER 1 BEAUTY /DRESS 13 CHAPTER 2 WORK 25 CHAPTER 3 MARRIAGE 40 NOTES 52 WORKS CITED 59 1 INTRODUCTION As I have immersed myself in literature of the 1920s, I have been troubled by the discontented, trivial lives of the upper class female characters.
    [Show full text]
  • Editorial Introduction
    The Pennsylvania State University The Graduate School College of the Liberal Arts TEMPORARILY DEVOTEDLY YOURS: THE LETTERS OF GINEVRA KING TO F. SCOTT FITZGERALD A Dissertation in English by Robert Russell Bleil © 2008 Robert Russell Bleil Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2008 ii The dissertation of Robert Russell Bleil was reviewed and approved* by the following: James L. W. West III Edwin Erle Sparks Professor of English Dissertation Advisor Co-Chair of Committee Christopher Clausen Professor of English, emeritus Co-Chair of Committee Mark S. Morrisson Professor of English William L. Joyce Dorothy Foehr Huck Chair and Head of Special Collections, University Libraries and Professor of History Robert R. Edwards Edwin Erle Sparks Professor of English and Comparative Literature Director of Graduate Studies Department of English *Signatures are on file in the Graduate School iii ABSTRACT When Ginevra King met F. Scott Fitzgerald in St. Paul, Minnesota on January 4, 1915 there was instant chemistry between them. That night in her diary, Ginevra exclaimed, “Scott perfectly darling am dipped about.” For his part, Scott was equally smitten with Ginevra; although he was due back in Princeton immediately, Scott stayed over an extra day to spend more time with the brunette debutante from Chicago. Upon his return to Princeton, Scott immediately sent Ginevra a special delivery letter; according to the customs of the time, such a letter constituted Scott’s formal declaration that he was interested in pursuing a correspondence with Ginevra. A vivacious and fun- loving girl, Ginevra was no stranger to the importance of a “special delie” and the epistolary game was afoot.
    [Show full text]
  • F. Scott Fitzgerald's Ledger, 1919–1938
    F. SCOTT FITZGERALD’S LEDGER TRANSCRIPTION PAGE 1 F. Scott Fitzgerald’s Ledger, 1919–1938 F. Scott Fitzgerald’s Ledger is one of the richest primary source documents in existence for any literary author. Fitzgerald began recording information in this business ledger sometime in 1919 or 1920 after leaving the Army and moving to New York to begin his professional life as a writer. Fitzgerald divided the Ledger into five sections: “Record of Published Fiction,” “Money Earned by Writing since Leaving Army,” “Published Miscelani (including movies) for which I was Paid,” “Zelda’s Earnings,” and “Outline Chart of my Life”. The “Record of Published Fiction” and “Published Miscelani” are spreadsheets listing everything he wrote and its publication history up to the time of its final disposition. He meticulously tracked his earnings from 1919 through 1937 in the section titled “Money Earned by Writing since Leaving Army.” In addition, he recorded Zelda’s earnings from her writing. In the autobiographical section, “Outline Chart of my Life,” he provided background about his early years but later included monthly entries for each year. F. Scott Fitzgerald’s Ledger is part of the Matthew J. and Arlyn Bruccoli Collection of F. Scott Fitzgerald held by the Irvin Department of Rare Books and Special Collections, located in the Ernest F. Hollings Special Collections Library at the University of South Carolina in Columbia, S.C. The digital version of the Ledger, which includes access to the full text and is keyword-searchable, was produced by the staff of the Digital Collections Department of the University of South Carolina.
    [Show full text]
  • The Great Gatsby Film Worksheet
    The Great Gatsby Worksheet 1 Francis Scott Fitzgerald Name ......................................... Level 5 The Great Gatsby F. Scott Fitzgerald Date ....................................... Adapted by David A. Hill “He talked a lot about the past that night.” Jay Gatsby is the man who has everything: money, influential friends and fabulous parties. Day and night his Long Island mansion is full of beautiful people laughing and dancing and talking about their mysterious host. The rich and handsome Gatsby always seems to be alone in the crowd and there seems to be something missing from his life. What is the secret from Gatsby’s past? And what does he silently hope will fill his life? Recording in American English F. Scott Fitzgerald HELBLING LEVEL CEF Cambridge Trinity READERS Novel, written by F. Scott Fitzgerald in 1925 A great new series 1 A1 Breakthrough KET 1, 2 RED The Great Gatsby of graded reading 2 A1 Breakthrough / A2 Waystage KET 2, 3 The Great Gatsby SERIES material. Choose from 3 A2 Waystage KET 3, 4 well-loved classics 4 A2 Waystage / B1 Threshold PET 4, 5 1974 film, the first well-known film adaptation, directed by Francis Ford BLUE and high-quality SERIES 5 B1 Threshold PET 5, 6 original fiction. F. Scott Fitzgerald Coppola 2013 film with Leonardo DiCaprio and Carey Mulligan, directed by Baz ISBN 978-3-85272-295-5 with Luhrmann 9 7 8 3 8 5 2 7 2 2 9 5 5 ISBN THE978-3-85272-295-5 GREAT GATSBY CD inside THE GREAT GATSBY COVERs.indd 1 11/04/12 09:41 Introduction What do you know about the story? Watch the film trailer and discuss the questions below.
    [Show full text]
  • 1. Dear Scott/Dear Max: the Fitzgerald-Perkins Correspondence, Eds
    NOTES INTRODUCTION F. SCOTT FITZGERALD, "THE CULTURAL WORLD," AND THE LURE OF THE AMERICAN SCENE 1. Dear Scott/Dear Max: The Fitzgerald-Perkins Correspondence, eds. John Kuehl and Jackson R. Bryer (New York: Scribner's, 1971),47. Hereafter cited as Dear Scott/Dear Max. Throughout this book, I preserve Fitzgerald's spelling, punctuation, and diacritical errors as preserved in the edited volumes of his correspondence. 2. F. Scott Fitzgerald, A Life in Letters, ed. Matthew J. Bruccoli (New York: Simon and Schuster, 1994),67. Hereafter cited as Life in Letters. 3. F. Scott Fitzgerald, F. Scott Fitzgerald on Authorship, eds. Matthew J. Bruccoli and Judith S. Baughman (Columbia: University of South Carolina Press, 1996),83. Hereafter cited as Fitzgerald on Authorship. 4. For a superb discussion of the voguish "difficulty" associated with the rise of modernist art, see Leonard Diepeveen, The Difficulties ofModernism (New York: Routledge, 2003),1-42. 5. There is a further irony that might be noted here: putting Joyce and Anderson on the same plane would soon be a good indicator of provin­ cialism. Fitzgerald could not have written this statement after his sojourn in France, and certainly not after encouraging his friend Ernest Hemingway's nasty parody, The Torrents of Spring (1926). Anderson may be one of the most notable casualties from the period of ambitious claimants, such as Fitzgerald, Hemingway, and William Faulkner, to a place within "the cultural world." 6. Pierre Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field, tr. Susan Emanuel (Stanford: Stanford University Press, 1996), 142. 7. "The principle of differentiation is none other than the objective and subjective distance of enterprises of cultural production with respect to the market and to expressed or tacit demand, with producers' strate­ gies distributing themselves between two extremes that are never, in fact, attained-either total and cynical subordination to demand or absolute independence from the market and its exigencies" (ibid., 141-42).
    [Show full text]