Sangria in the Sangreal: "The Great Gatsby" as Grail Quest Author(s): D. G. Kehl and Allene Cooper Source: Rocky Mountain Review of Language and Literature, Vol. 47, No. 4 (1993), pp. 203- 217 Published by: Rocky Mountain Modern Language Association Stable URL: http://www.jstor.org/stable/1348307 Accessed: 30-05-2016 22:16 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms 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]. Rocky Mountain Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to Rocky Mountain Review of Language and Literature This content downloaded from 128.82.252.58 on Mon, 30 May 2016 22:16:55 UTC All use subject to http://about.jstor.org/terms Sangria in the Sangreal: The Great Gatsby as Grail Quest D. G. Kehl Arizona State University Allene Cooper Boise State University Near the end of Fitzgerald's This Side of Paradise, Amory Blaine, returning to Princeton after his disillusioning sojourn in Atlantic City, concludes that he knows one thing: "If living isn't a seeking for the grail it may be a damned amusing game" (278). For Fitzgerald, by the time he wrote The Great Gatsby five years later, living had become both a quest for the grail and "a damned amusing game," with emphasis sometimes on the quest and sometimes on the game.