Last Kiss The Great Gatsby The Great Gatsby: An Edition of the Manuscript

Boats Against the Current: The Honeymoon Summer of Scott and Zelda: Westport, Connecticut, 1920

Arthur Miller’s Death of a Salesman and Fitzgerald’s The Great Gatsby are two of the literary works that masterfully delineate the existential anxiety of their protagonists: Willy Loman and Jay Gatsby. This paper attempts to delve deep into the characters- Willy Loman and Jay Gatsby with a view to exploring the existential angst that Willy Loman of Death of a Salesman and Jay Gatsby of The Great Gatsby goes through. Existential angst refers to a profound feeling of anxiety, fear, or unease that stems from reflecting on the meaning or purpose of life, one’s existence, and the unavoidable nature of death. Both Willy Loman and Jay Gatsby grapple with the relentless worship of the American Dream and the pursuit of success, ultimately leading to the decay of their true selves. Primary data for conducting this research have been collected from the texts- Death of a Salesman and The Great Gatsby, whereas secondary data have been collected from different articles, research papers, and different online sources. The content analysis method is used to analyze the data collected from different sources. Willy Loman, a traveling salesman, seems obsessed with achieving his version of the American dream, but unfortunately, he can never fulfill his dream. Jay Gatsby, on the other hand, is a wealthy, ambitious, and idealistic man. Although Gatsby had always desired wealth, his primary motivation for amassing his fortune was his love for Daisy Buchanan, whom he met as a young military officer in 1917 before leaving to fight in World War I. Both the men appear to be awfully lost in the anxiety of their existence. This paper seeks to unearth the unstable mental condition, the loss of individual identity, and the deep-rooted existential anxiety of the two characters, Willy Loman and Jay Gatsby.

In the summer and early autumn of 2008, as the global ‘credit crunch’ intensified, resulting in the collapse, part-nationalization, or forced merger of numerous venerable financial institutions, a ...

The Challenges of Retranslating <i>The Great Gatsby</i> into Hungarian With a Focus on Metaphors of Emotion and Embodiment

THE HOT MADNESS OF FOUR O'CLOCK IN FITZGERALD'S "ABSOLUTION" AND GATSBY Robert A. Martin University of Michigan As early as the summer of 1922, Fitzgerald began thinkingabout the novel that was to become The Great Gatsby. In July, he wrote his editor, Maxwell Perkins, that in his next novel he wanted "to write something new—something extraordinary and beautiful and simple and intricately patterned."1 During the summer of 1923, he completed nearly three chapters of an early version and bythe timehe again resumed work on it in the spring of 1924, "he discovered," writes Henry Dan Piper, "that his conception of the story had changed so radically that he felt obliged to begin it all over again."2 In April, 1924, Fitzgerald wrote Perkins that "much of what I wrote last summer was good but it was so interrupted and ragged and, in approaching it from a new angle, I've had to discard a lot of it—in one case 18,000 words (part of which will appear in the Mercury as a short story). . . . This book [The Great Gatsby] will be a consciously artistic achievement and must depend on that as the first books did not."3 In the June, 1924 issue of The American Mercury 6,000 words of the discarded manuscript appeared with the title of "Absolution," and a few weeks later Fitzgerald wrote in reply to a letter from Perkins, "I'm glad you liked 'Absolution.' As you know it was to have been the prologue of the novel but it interferred with the neatness of the plan."4 While nothing of Fitzgerald's "plan" for the novel appears to have survived, there clearly was one and his correspondence with Perkins indicates that from the first draft to the final galley proofs, Fitzgerald planned Gatsby with an exceptional amount of care. Although there has been an extraordinary amount of critical commentary devoted to The Great Gatsby, relatively few critics have approached the structural relationship between "Absolution" and Gatsby internally. A textual comparison of the two works, however, indicates that some of the original links that would have tied "Absolution" to Gatsby as prologue to novel are still visible beneath the surfaces and that the two works are, in fact, linked by numerous parallels that reflect Fitzgerald's original conception of the novel as an extended treatment of Jimmy Gatz's metamorphosis and career as Jay Gatsby. Studies in American Fiction231 Given Fitzgerald's comment in a letter to a John Jamieson in 1934 that although "Absolution" was intended to be "a picture" of Gatsby's early life, "I cut it because I preferred to preservethe sense ofmystery,"5 his first conception of the novelcan be seen through the surface details of the 1924 revision. The first thing, perhaps, to be said about"Absolution" is that it contains all the elements of style, structure, and narrative method that Fitzgerald would subsequently abandon as he revised his original manuscript to accommodate his "new angle" of approach. In addition to discarding the prologue and compressing the events into a single summer, he changed the setting from the Midwest to the East; the time from the 1880's to the 1920's; the narrative point-of-view from the third person to the first and the chronology from a straight forward to a broken time sequence. Fitzgerald's "new angle," therefore, permitted him to concentrate more fully on whatJames E. Millerhas called "his art of 'magic suggestiveness' "e through a compression of time and events. The second thing to be said about "Absolution" is that, as Robert Sklar has observed, "in outline most of The Great Gatsby is there."7 Although Fitzgerald continued to revise Gatsby through the final galley proofs, several obvious parallels remain. Rudolph Miller is clearly the young Jimmie Gatz whose disillusionment within the religious setting of "Absolution" anticipates the disillusionment of Jay Gatsby within the secular setting of the novel. Both Rudolph Miller and Jay Gatsby have their origins in "the Minnesota-Dakota country,"8 and both have insignificant fathers who greatly admire James J. Hill. While Rudolph's father appears as the local freight agent, Gatsby's parents are "shifdess and...

This study entitled “The Structure of Jay Gatsby’s Personality in The Great Gatsby Novel” is aimed to describe Jay Gatsby’s structure of personality and his behavioral representations. The data were taken from the novelThe Great Gatsby written by F. Scott Fitzgerald. Qualitative method was applied to analyze Jay Gatsby’s structure of personality and his behavioral representations. The theories used to analyzed are the theory of literature proposed by Kenney, theory of psychoanalysis and theory of anxiety proposed by Freud. The theory of literature showed that The Great Gatsby used mixed plot and in order to reveal the character of Jay Gatsby, mixing method was used.The psychoanalysis theory showed three structures of personality of human minds: the id, the ego, and the superego. The behavioral representations of the structure of personality showed in anxiety and defense mechanism of the ego: repression, fixation, and regression. The result of analysis showed that the desire of human beings must not be negative and must be realistic otherwise it will effect his/her behavior and how he/sheis treated in society.

This research aims to analyse denial as defense mechanism in main character of The Great Gatsby (2013) movie, Jay Gatsby. This research discovered denials as defense mechanism in psychoanalytic in the main character, which based on Sigmund Freud's theory. The researcher used a qualitative descriptive method based on the movie’s dialogue and character’s behaviour. The Great Gatsby (2013) movie was the primary data source in this research. This research identifies 3 types of denial as defense mechanism in Jay Gatsby's character. Jay Gatsby shows that his denials were caused of his own ego, that he can’t accept reality he was born in a poor family and his unhealthy obsession towards Daisy Buchanan which their relationship has ended long time ago and now Daisy is already Tom Buchanan’s wife. Keywords: Pyschoanalysis, Defense Mechanism, Denial

This article makes a comparative study of “A Tale of Two Cities” and “The Great Gatsby” and evaluates the genuine love of Sydney Carton and Jay Gatsby for their beloveds. Sydney Carton and Jay Gatsby are the two main characters in “A Tale of Two Cities” and “The Great Gatsby”. This paper examines their nature of love under certain contexts. In the final analysis, it will be cleared that the authentic love of Sydney Carton and Jay Gatsby to their heroines Lucie Manette and Daisy Buchanan are rare in this modern world. They present passion, responsibility, respect, understanding, desire, liability, love, concern, feelings, etc., to their heroines. Both of them lead a troublesome life as they struggle, survive, and sacrifice for Lucie and Daisy a lot. From this, we can understand that only desire cannot create love. Here, the real meaning and nature of love will be discussed in the view of the two texts. Examining these, we can understand the meaning of love that helps us to differentiate between real love and fake love and the significance of actual love. By this, it can instruct people to become honest in their love by having true feelings which we can call genuine love. The study tries to discover many similarities and dissimilarities between both the characters, Sydney Carton and Jay Gatsby. Indeed, their nature of love and deeds make them extraordinary.

A few years ago, an Atlantic Monthly headline asked “Must Every New Coming-of-Age Novel Be ‘the Next Catcher in the Rye’?” (Kelly). Fans of F. Scott Fitzgerald might wonder if its author, Maura Kelly—who once collaborated with Jack Murnighan on a book called Much Ado About Loving: What Our Favorite Novels Can Teach You About Date Expectations, Not-So-Great Gatsbys and Love in the Time of Internet Personals (2012)—ought to do a follow-up centering upon The Great Gatsby. Just as each publishing season delivers at least one or two novels touted as “a female Catcher” or a “Catcher for the ____ Generation,” so, too, F. Scott Fitzgerald's 1925 novel has become an all-purpose marketing handle. In recent years, novels as different as Chuck Palahniuk's Fight Club (1996) and Sara J. Benincasa's young-adult/sci-fi Great (2014) have been promoted as spins on the story of Jay Gatsby's relationship with Nick Carraway, Daisy Buchanan, and the American Dream. Recently on Tumblr an aspiring Champaign, Illinois, college senior described her entry for the online competition #pitchwars as a “race-bent, gender-bent YA The Great Gatsby” (Phenix).Its title?Green Lights.Stephanie Powell Watts's No One is Coming to Save Us is the most prominent novel lately to receive this “green-light” treatment. As Jade Chang in the New York Times writes, the book is a “skillful riff on The Great Gatsby,” a “Gatsby reboot” that pays careful homage to Fitzgerald's novel while recasting its concerns within a contemporary context (Chang). Over at National Public Radio, Ari Shapiro titles his interview with Watts “Fitzgerald Didn't Satisfy This Author, So She Wrote Her Own Gatsby-Inspired Novel.” In it the author goes to great lengths to insist she is not rewriting Fitzgerald: The kernel, the seed of the book is very much in the spirit of Gatsby: the idea that someone returns to a place that is home for him, or he's hoping is home for him, and he comes back and he is hoping to live out a fantasy life that he's dreamed about for some time. And so that kernel to me is what my book is about, or is at least a starting place for my book. But it goes in different directions from there. (Shapiro) Even so, she makes it clear No One is Coming to Save Us sets out to speak for certain voices underrepresented by Fitzgerald: When you read Gatsby, or maybe even shortly afterwards, didn't you want to know about Daisy? I mean, she's so flighty and she seems so ridiculous, there has to be something in there that's making her make this tremendous move in her life. Or Myrtle [Wilson]—I mean, she's so much like Jay Gatsby, you know: She's such a striver; she's trying so hard to you know “better herself”; she's trying so hard to be in another class. And so those kinds of questions made me think about, “Well, what about these women here?” I want to talk about the ones that are like my mother and like my grandmothers, who are striving and trying to figure out the world with not a whole lot of resources in all kinds of ways, but who want better for themselves and for their children. And so I'm really drawn to those characters that don't get their say. (Shapiro) Several elements of the novel do indeed evoke Gatsby, even though No One is Coming to Save Us is firmly planted in the red clay of the South (North Carolina specifically). The humidity reeks from the pages like the familiar summer haze of New York City in June 1922. The style also strives for Fitzgerald in its combination of rich words and careful phrasing: One of the tricks of time is that your own ordinary life took on a sweetness in the retelling. (210) They didn't experience joy then, just the immediacy of the life they were living. (220) Only time made it rich…. like smoke [it] undulated around them—elastic and easily bent to their will. (259) As Time writes, “Like Fitzgerald, Watts excels at physical descriptions that give texture to the world of the novel: a road curls ‘like a potato peel,’ a fingernail overhangs ‘a dirty dust line … like the vein in shrimp’” (Begley). Perhaps character is the area most obviously indebted to Gatsby: Watts's hero is a double Jay—namely, J. J. Ferguson, who is flush with new money and happy to flaunt it. His return to his humble hometown starts the juxtaposition of the Gatsby context. When Sylvia, the mother of J. J.'s love interest, Ava (the novel's Daisy), sees him for the first time upon his homecoming, the description seems particularly familiar: “But this man in front of her thought he could star in his own adventure, be the hero in his own story” (89). Watts seems intentionally here to echo several passages in Gatsby devoted to the charisma of the “elegant young rough-neck” born anonymously in the Midwest (GG 40)—perhaps, most obviously, Daisy's claim to her lover: “You always look so cool…. You resemble the advertisement of the man” (GG 93).While Watts uses Fitzgerald as a template, No One is Coming to Save Us stands on its own. The starkest difference is the focus on the tender interweavings of family, particularly the dynamic of mother and child, seen in Ava and Sylvia as well as Ava's personal struggle to conceive—a vast contrast to the broken relationships of East and West Egg. It is a delicate line to walk, this genre of adapting characteristics from the “classics,” especially when the source material is a novel as well known (and well-judged) as The Great Gatsby. Yet No One is Coming to Save Us beautifully balances the tipping point between paying tribute and redressing marginalized elements. There is similarity in the chaos of the characters' lives. However, Watts does not write a gin-soaked tale of tragedy and opulence. Nor does she simply transcribe the story into African American culture, as the movie G (2002) does with its story of a rapper named Summer G pursuing his love Sky against the backdrop of “hip-hop in the Hamptons” instead of prohibition and bond scams. Watts's storyline is her own, steeped deeply in Southern heritage and black culture, even as the epigraph from poet Bob Watts's “The Light at Hinkson Creek” places readers at the edge of a dock, waiting in expectation: “The light seems somehow brighter brought to rest … shimmering at my fingertips, so close to reach for it, the twice-bent gleam that passes in the swirl my reaching makes” (iv).Nor is there pretension in Watts's characters. The world her people populate is humbled by poverty and what can only be described as the stark reality of the black American experience. We are a long way, in other words, from Fitzgerald's white and wealthy realm. One quotation in particular specifically identifies that dominant imbalance: “These days televisions from the neighbors' houses flickered all night long courtesy of the satellites like Derby-worthy fascinators on their roofs” (278). That distance sometimes clouds the modernity in Watts's novel: exactly how we are supposed to interpret the novel through the lens of black/white relations, as well as how that lens is supposed to make us rethink Gatsby, remains ambiguous.In many ways, Watts's setting is far more reminiscent of the “Valley of Ashes” than the gleam and glitter of Great Neck (GG 21). Imagine Wilson's gas station after desegregation: “To this day some blacks preferred the pick-up window to going in…. Others loved the idea that the times had changed enough, the wounds healed enough that they could walk proudly through the front door on their own terms” (63). That disparity is the only thing I really disliked about this book.All in all, No One is Coming to Save Us breathes life into the Great American Novel that has been told again and again, trading the unfathomable parties and wealth for everyday folks. In one swift reference to “government cheese” (86), we are brought back down to the middle-American dream, and Jay's mansion is simply an exaggerated version of the typical suburban two-story. Whether the novel needs the Fitzgerald connection to catch potential readers' attention is debatable: the differences are so great that at times the linkage seems like pure marketing. The deception and loneliness and wanting that are so rich in Fitzgerald are present in Watts's prose if not necessarily her theme. That may be all the familiarity some readers find, but it will be all the familiarity some need to enjoy this entertaining, moving novel.

The public domain is a swamp, or a valley of ashes.—Charles Scribner III, in conversation, 25 January 2021 Copyright protection for The Great Gatsby expired on 1 January 2021. The novel has entered the public domain. I was curious to examine the new editions that would be coming out. I anticipated low-priced paperbacks, mid-priced student editions, and high-priced gift editions. I ordered (mostly from Amazon) all print editions published in 2020 or 2021. Over a period of several weeks I received and examined a total of thirty-four new editions. Possibly there are other new editions, but I believe I have acquired them all.1In what follows, I will concentrate for the most part on the texts and physical characteristics of these editions, rather than on prefaces, introductions, and ancillary material. I will address several questions. Is a base text declared? How are the various textual cruxes handled? Are editorial emendations reported? Is there an account, even a brief one, of the composition and textual history of the novel? Are there remarks about the image by the illustrator Francis Cugat that appears on the original dust jacket? The answers are as follows: Some of the new editions do declare a base text. Two of these editions offer remarks about emendations, but no new edition includes a full composition narrative. Only one of the new editions has anything to say about the 1925 dust jacket. Most of the editions say nothing about what text is being presented.In the Cambridge variorum, I traced the textual history of The Great Gatsby from its initial clothbound publication by Charles Scribner’s Sons in 1925 to the paperback published by Scribner in 2018 (GGVar xxxi–li). I was able to perform this exercise with confidence. Given the methods used by commercial printing firms for the majority of that period, I knew that for each new edition (i.e., fresh typesetting), there must have been a printer’s copy—a typescript or a published text that had been marked for the compositor. The newly typeset text would have been proofed and then printed, on paper, from standing monotype or linotype, or from an electrotype plate or a planographic plate mounted on an offset press. The result would have been a physical manifestation of the text, a bound book. Later editions of The Great Gatsby would therefore inevitably descend, in some fashion, from earlier editions of the novel. Bibliographers demonstrate these relationships by constructing a “stemma,” a tree-like figure that shows the line of transmission from one text to another.Such assumptions can no longer be made. After examining these new editions of Fitzgerald’s novel, I am convinced that the texts have been cross-pollinating in the night. Editions that had been out of print for decades, editions that I thought were dead, have risen from the grave. Variants that had not appeared in a printed text of The Great Gatsby in decades have popped up in one or more of these new editions. Sets of variants unique to one edition have become intermixed with variants characteristic of another. I therefore cannot speak with confidence about the origins of some of these new texts. They have simply materialized. A few years back, critics were apt to speak of the “instability of the text” as an abstract concept. Today, with The Great Gatsby, we have textual instability incarnate.None of these editions pretends to be a scholarly performance. For the most part these are commercial products issued by publishers who want to capture a sliver of the enormous market for The Great Gatsby. Still, one feels that care should have been taken with the text of Fitzgerald’s masterpiece. I will admit to feeling protective about that text. Publishers, it seems to me, should feel the same way. A responsible publisher has a fiduciary duty to provide a reader with an accurate, reliable text of a classic work of literature.Scribner’s (since 2012 Scribner), Fitzgerald’s publisher for his entire career, did an exemplary job of making trustworthy texts of The Great Gatsby available while the novel was still in copyright. From 1925 onward, the book was never out of print. It was published in cloth and paperback, in various price ranges, in editions for teachers, students, and lay readers. Scribner’s was sensitive to the accuracy of the text, incorporating Fitzgerald’s emendations from his personal copy into the standard text and correcting errors when they came to light (such as those Edmund Wilson added to the text when he included it in his edition of the uncompleted The Last Tycoon, published in 1941, a year after Fitzgerald’s death). Scribner has now adopted the Cambridge variorum text for its editions of The Great Gatsby. The Scribner 2018 paperback, with an introduction by Jesmyn Ward and a foreword by Eleanor Lanahan, offers the variorum text. This text was reissued in 2020 in a rack-sized edition. Thus, the variorum text is available from Scribner in two soft-cover editions. The original artwork for the first-edition dust jacket is on the covers of both paperbacks.Some of these new editions appear to descend from the digital text first posted on the Project Gutenberg site in January 2002. That text was updated in October 2020, probably in anticipation of the expiration of copyright. It is impossible now to know how the Gutenberg text read before October 2020, during the period when some prospective publishers of new Gatsby editions seem to have used the cut-and-paste feature to appropriate that text. The Gutenberg text available now appears to descend from a paperback edition published by Scribner’s in the late 1990s. The epigraph is present, but the dedication is missing. Plate changes from the second impression of Scribner’s 1925 have been incorporated, as have emendations from Fitzgerald’s personal copy.Many of the new editions have special designations. We have a Student Edition, a Large Print Edition, a Dover Thrift Edition, an American History Edition, a Collector’s Edition, and a Deluxe Illustrated Edition. Others are “Classics” editions: Vintage Classics, Reader’s Library Classics, Fingerprint Classics, SeaWolf Press Classics, Squid Ink Classics, Word Cloud Classics, Canterbury Classics, Alma Classics, and Mr. Mintz Classics. Some of the imprints are familiar: Penguin, Modern Library, Norton, Harper, Vintage, Everyman, and Dover. Other imprints are less frequently encountered: Black Dog, SeaWolf, Wordsworth, Sirius, Chiltern, Auroch, and Pure Snow. Many of the editions are one-offs that appear to belong to no series. These give no place of publication or publisher; several of them have blank copyright pages.When I prepared The Gatsby variorum for the Cambridge series, I discovered that seven editions between 1941 and 1970 had dropped the epigraph and that nine had omitted the dedication to Zelda (GGVar xxxvii n30). I had hoped that the epigraph and the dedication would reappear in the 2021 editions. Alas, this was not to be. Five of the editions under examination here are missing the epigraph, and an astonishing seventeen have dropped the dedication to Zelda. At one point, I believed this was a nefarious plot to erase Zelda’s name from the novel. I am now inclined to think that the problem is ineptitude. When the epigraph and dedication are present in some of the new editions, they are wedged into odd places—on the half-title, on the copyright page, or at the beginning of the first chapter. The epigraph should appear on the title page; the dedication, if possible, should be printed on an otherwise blank recto following the copyright page.Two of the editions that omit the dedication to Zelda have given us substitute dedications. The Decameron Books edition has the following on its copyright page: “This edition is dedicated to Alison Fields, whose love of this novel | brought others to read it, which is how literature becomes a shared | means of communication and a language unto itself” (iv). And the text published by Wordsworth Editions has this on its copyright page: “Dedicated to | LOGAN and OLIVIA BARBROOK | May your lives be filled with wonderful stories, | great adventures and happily-ever-afters, | Love Mummy” (4).The problem with “orgastic” and “orgiastic” seems almost to have disappeared. Only two of the new editions have “orgiastic” on the final page, but these two, surprisingly, are published by established houses—Modern Library (158) and Everyman (148). I had thought that several others might resurrect “orgiastic” from the Scribner’s edition of 1941, but I was incorrect. As for contested readings, five of the new editions have “irises” rather than “retinas” in the description of Doctor T. J. Eckleburg’s eyes, but most of these editions do not follow through by emending “Astoria” to “Long Island City” and “eastward toward the park” to “southward toward the park.”2The slur-word “kyke” (Fitzgerald’s spelling on page 41 of the first edition) appears in many of the new editions. The more commonly found “kike” is in other new editions. A bowdlerization, “tyke,” first appeared in a Penguin text in 1974 (36). The “tyke” reading is still afloat and reappears in the new Penguin English Library text (28). Along these same lines, I had thought that some of the new editions might do away with Nick’s mention of “three modish negroes, two bucks and a girl,” and with the “yolks of their eyeballs”—this from chapter 3 of the 1925 edition, as Gatsby and Nick pass over the Queensboro Bridge on the way into Manhattan (83). But these words, which some readers will find offensive, are present in all of the new editions. About half of the editions capitalize “Negroes,” which is normal practice today but was not in 1925.Space breaks have always been a problem in The Great Gatsby. Some of the new editions include the space breaks, or most of them, from the first edition; other new editions omit them altogether; still others mark the space breaks with asterisks or bullets or type ornaments. Several of the new editions have extra space between each paragraph, which swells the page count and makes it difficult to tell where the legitimate space breaks occur. Many of the editions employ sans-serif typefaces; these make the text look like an auto-repair manual. Some of the editions have ersatz tables of contents; others have “THE END” on the final page. Neither of these features appears in the first edition. The Auroch Press edition concludes on page 144, a verso, with this familiar sentence: “So we beat on, boats against the current, borne back ceaselessly into the past.” But as one is contemplating this sentence one is confronted, on page 145, the facing recto, with these five lines: OLD SPORT, IF YOU ENJOYED THIS BOOK, AND LEARNT FROM IT TOO, WHY NOT WRITE A REVIEW FOR THE PARTIES I THREW!Only the Norton Critical Edition has something to say about the Francis Cugat painting on the dust jacket of the original Scribner’s edition. (In the Norton edition the painting, a gouache on paper, is referred to as “washed with watercolor and gauche” [xxiii].) This dust jacket image, like the text of The Great Gatsby, is now in the public domain. Any publisher can use it. Seven of the post-copyright editions have the image on the front cover, but the reproductions are often blurry and the colors not quite right. Also popular are representations of Gatsby’s yellow car. Five editions feature the automobile on the cover; three have champagne glasses and bubbles; four have the motif of a feather fan.Several of the hardback editions have decorative stamped bindings, silk ribbon bookmarks, and gilt edges. These editions, one assumes, are for the giftbook trade. The Canterbury Classics edition has a gold-stamped image of a languid-looking woman on the front cover. The rendering of her dress is probably meant to suggest the style of the American 1920s but to my eye looks like something from the Mauve Decade, done in the manner of Aubrey Beardsley. The most elegant of the decorated editions was published in New Delhi by Fingerprint Classics. Representations of a man and a woman in evening clothes are stamped, in shiny gold and glossy red, on the front cover. This is appropriate, but the automobile parked behind these two people is a Dodge Charger (the muscle car popular during the 1980s), and the house behind the car is a McMansion. My favorite cover is on a paperback published in Boston by Squid Ink Classics. The image is of majestic pine trees over which hover the Northern Lights—in luminous green, of course.The prize for the most peculiar edition goes to a paperback that has no title page, no copyright page, no half-title, no epigraph, no dedication, and no page numbers. (It is the last of the thirty-four editions listed at the head of this review.) Fitzgerald’s name appears only on the cover. The text of the novel begins on the very first page of the book. Some of the dialogue is set off with double quotation marks, as in the first edition, but most of it is prefaced only by a hyphen before the first word. The text is bizarre. Fitzgerald’s words appear to have been translated into another language and then rendered back into English by an antic computer. Consider this passage, typical of many in the edition: Anyway, Miss Baker’s lips frizzed; she nodded almost imperceptibly in my direction, then very quickly threw it back—no doubt the object she was balancing had almost fallen to her terror. Again, a sort of justification rose to my lips. Any display of self-assurance extorts me an astonished tribute. (5)Or this passage: I glanced around. Most of the ladies still present were arguing with gentlemen who were said to be their husbands. Jordan’s first companions, the two East Eggs, were themselves cruelly torn by an argument. One of the men was talking to a young actress with serious intensity and his wife, after trying to laugh at it indifferently and dignifiedly, finally lost all restraint and engaged in flank attacks—at intervals, she suddenly appeared at his side, sparkling with anger like a diamond, and whistled in his ear: “Yet you had promised!” ” (31)I merely transcribe. The two double quotation marks at the end of the passage above appear just as they do in this strange edition. Finally, we have this familiar exchange between Nick and Gatsby:Gatsby turned to me all in one piece: I have nothing to say in this house, old brother.She has an indiscreet voice, a voice full of . . .I hesitated.Her voice is full of change, he said suddenly. (73)There is a surprise at the end of this edition. The final three pages of the original novel have been omitted. The text stops in the middle of the confrontation between Nick and Tom on Fifth Avenue (109). At least one does not have to worry about “orgastic” versus “orgiastic” in this edition.I am curious to know how this misbegotten text came into being. The publisher is not identified. The cover is black; it bears the title of the book and Fitzgerald’s name. Between the title and the author’s name appear three rectangles in a sandy brown color. Collectors of textual curiosa will want to acquire a copy (ISBN 9798708844682). In September 2021, the edition was still available from Amazon, but it was necessary to scroll quite far down through the listings to find it.Some of these editions are responsibly done. One of the best is the Penguin Books paperback, with a text prepared by Philip McGowan. Both McGowan and Min Jin Lee, who supplies the introduction (ix–xxviii), have done their homework. The documentation (xxix–xxxii) and the “Suggestions for Further Reading” (xxxiii–xxxv) show an admirable effort to put into play the available scholarship on the novel. McGowan has consulted both the Cambridge edition of 1991 and the Cambridge variorum of 2019. McGowan tells us that his text is based on the first appearance of The Great Gatsby on the British book market, the 1926 Chatto &amp; Windus subedition (xxxvii). As McGowan must have learned from the Cambridge variorum, this Chatto &amp; Windus edition was in fact printed from a set of duplicate electrotype plates cast from the Scribner’s plates, or possibly cast from the standing type, at the Scribner’s printing plant. These plates were used for the second American printing of 1925.This new Penguin text therefore actually derives from the second printing of Scribner’s 1925, incorporating the six changes made for that printing (e.g., “echolalia” and “sickantired”) plus one other, the correction of “absorbtion” to “absorption” at 119.5–6, which appears first in the Chatto &amp; Windus text. McGowan lists new emendations in his textual note (xxxvii–xxxix). The revisions from Fitzgerald’s personal copy have not been included. This edition emends to “irises” in the description of the eyes of Doctor T. J. Eckleburg (27) but leaves “eastward” (40) and “Astoria” (72, 132) as they appeared in the first edition (respectively 27, 43, 82, 150).3 Much of the quasi-British orthography from the first Scribner’s edition has been The epigraph and dedication are present in their and “orgastic” appears on the final page. The space breaks from the first edition are present, with a new one that appeared for the first in the 1991 the 1926 subedition has been used as the base text, the appears in this Penguin text of the surprisingly, appears of Both of these errors were by in his personal Norton Critical edition the dedication to Zelda. This is not a The J. includes a textual note which a of This Norton edition is based on the second printing of Scribner’s The emendations that made in his personal copy of The Great Gatsby are not included. A few in the second printing are over in the Norton rather than has been to textual note in the I have English but some British variants (e.g., have been The Norton text has most of the quasi-British from the first edition, as and has been to other name is with the the final page, one as is not “orgiastic” The of the pages in is of great The edition includes that read and was by during with by that have on the novel, the and are and and all of the in the Norton Critical series, this one will be of in and for and for the of is have been able to the or base text for some of the other editions, even if that text is not in the texts can be by unique to these I like to think of them as and that in look for when new Modern Library paperback does not its text or give a of emendations, but it from 1941 Scribner’s edition. The epigraph and dedication are present were from the Wilson The here is “orgiastic” on the final page with and for both Other of the Wilson text are the words missing from page of this edition, and a sentence just shows from page space breaks are omitted in chapter as they are in text. Most of the emendations from Fitzgerald’s personal copy of The Great Gatsby are present, that the Modern Library text was typeset from one of the of Scribner’s 1941 into which had those changes (GGVar Everyman edition from Scribner’s The is “orgiastic” on the final page the epigraph and dedication are both present are in the 1941 The Everyman us a text with Much of the quasi-British has been (e.g., and in of both The peculiar is omitted as in the 1941 text, but just shows missing from the 1941 edition, has been The plate changes for the second printing of Scribner’s 1925 are but the emendations from Fitzgerald’s personal copy are we have of and rather than edition has a of Gatsby’s toward the end of the novel more or other have been in as on a The dedication is present, but the epigraph is missing. Doctor T. J. Eckleburg’s eyes have “retinas” We have one and one is with the The changes from the second printing have been incorporated, as have Fitzgerald’s emendations from his personal the final page, we find as we should Decameron edition offers an introduction that had its in the this has been added and by This edition has the following to say in the back text from this edition most of the made to the novel in only a few earlier and of what this means is The fact is that the edition was typeset from the paperback edition that I for Scribner in The is this said This line appears only in the 2018 Scribner paperback, on page was an by me to the about who is Gatsby or is nothing about the 2018 Scribner paperback as but it would have been to have an The Dover Thrift Edition is a of the same Scribner paperback with no new edition, from Black &amp; Publishers, features and other by the The note tells us that the base text for this new is the first printing of the Scribner’s 1925 first edition The note goes on to say that this new edition to that edition, in and other characteristics of the For the most part this is Neither the for the second Scribner’s printing the changes marked by in his copy are included. One The marks in Gatsby’s are typeset as I found the and other to be a on pages that has through the text. This is a gift edition and is not meant to be is in the epigraph and the Black edition is the best of the texts. The Mr. Mintz Classics edition on its cover to be a Edition with The out to be and include an image of a and a in chapter the chapter in which Tom his and at Gatsby’s that is the Great Gatsby and Other from Canterbury Classics, includes This of and The and both of which have been out of copyright for some in the same with The Great Gatsby. This Canterbury edition came out in 2020, which would put it in of copyright for The Great Gatsby, but the book was printed in this made it for the publisher to the by a This edition has a decorated and gilt all around. The text appears to descend from the 1941 Edmund Wilson edition. The epigraph is as is the dedication to of Wilson Fitzgerald’s appears of and at the end of the book we find “orgastic” of “orgiastic” This or two same is on the way for other classic American texts. The Also copyright protection in for the and in and The and the in The of and Black will pass into the public domain in the years after a in copyright These do not have the of The Great Gatsby, but all of them are Any publisher will be to a new edition of one of readers are probably themselves of this Are we Other than the dedication, of these variants The reader who one of these editions will still most of what has to voice will be full of Gatsby will have his same Nick will be Tom and he or will made from will be and full of will be the only to to the The language will be the and the a is not I believe we it to and to this novel, to to the text right. A great more care might have been taken with most of these new texts. In the Cambridge variorum, I came to the that many of the and publishers other than Scribner’s who issued editions of The Great Gatsby between 1925 and believed that old text would do for a and that it was all to Fitzgerald’s novel with a I had hoped that would not be the this but with the majority of these editions not seems to have new editions of The Great Gatsby are in the It would be if the and publishers of those editions would the the two Cambridge editions. an effort will them a base text and make about textual It would be if publishers would out the dedication to Zelda.

The Great Gatsby by F. Scott Fitzgerald highlights various cultural characteristics of the Jazz Age. This paper will explore the cultural elements of the original novel and the 2013 film adaptation and its impact on its audience. Specifically, this paper focuses on the themes of a materialistic culture, hegemonic culture, the American Dream, the portrayal of women in the 1920s, and the racist ideology. During the Jazz Age, a period of economic prosperity and social change, materialism shaped people's values and pursuits. Through an in-depth analysis of the novel and the film, this paper will explore the characters' endless pursuit of material wealth and social status to show that there was also impatience, emptiness, and ruthlessness behind this era's wealth. Moreover, this paper will explore the concept of hegemonic culture and the dominance of upper class characters over the lower class people. By examining the class conflicts between old and new money, the nature of the upper-class social circle, and the set of society that the aristocracy benefited from, this paper aims to show how The Great Gatsby highlights the power dynamics between different socio-economic classes and the injustices caused by this hegemonic culture. Despite Jay Gatsby's pursuit of wealth, status, and desire for personal fulfillment, the pursuit of this ideal often comes at a price, and this paper will explore the downfalls and disillusionment of the American Dream, as well as the complexity and ambivalence of the American Dream in the Jazz Age. In addition, the paper explores the portrayal of women in The Great Gatsby and the limitations of these female characters as well as the broader context of gender dynamics during the Jazz Age, where despite the progress made by women in terms of their social status at the time, some limitations and negativity still existed for women. Finally, the paper will look at racist ideology through the character Tom Buchanan as an aristocratic white man. Although this is not the main theme of the story, the fact that racism still exists is reflected in this character. The Great Gatsby portrays many elements of American society during the Jazz Age in both the novel and film highlighting the social dynamics and values of its time.

This article focuses on the construction of material landscapes in F. S. Fitzgerald's The Great Gatsby and the profound socio-psychological mechanisms behind them, revealing the paradoxical dilemma of individual identity construction within a consumerist culture. Through a detailed analysis of material symbols such as the geographical space of East and West Egg, Gatsby's lavish parties, clothing, cars, and mansions, the article explores how these symbols became central vehicles for class division and identity performance in 1920s American society. The study finds that Gatsby's carefully constructed identity as "Jay Gatsby" is deeply rooted in his extreme possession and display of material symbols, aiming to achieve social class mobility and win back Daisy through consumption. However, this identity, solely supported by material possessions, is inherently fragile and illusory. Daisy's ultimate choice, and Gatsby's tragic ending, cruelly expose the powerlessness of material symbols in transcending entrenched social class barriers. More profoundly, Gatsby's identity performance is caught in an endless "symbol chase": the more he attempts to affirm himself and reach his dreams through the accumulation and display of material possessions, the more his true self becomes obscured and alienated by the complex symbols, ultimately leading to complete loss of identity and disillusionment. The novel profoundly criticizes the alienating effect of the material landscape on individual identity under the logic of consumerism, revealing that identity construction strategies centered on material possession ultimately lead to self-dissolution and spiritual emptiness, and provides a lasting warning for understanding identity anxiety in contemporary consumer society.

This study entitled Motivation of Social Mobility in the novel The Great Gatsby by. F. Scott Fitzgerald. The author is interested in researching the novel because there is social mobilit y reflected through the character, Jay Gatsby. The purpose of this study is to reveal forms of social mobility and motivation of character; To achieve the goals, the authors used a combined approach of structural and sociological approach to literature. The structural approach used to assess the intrinsic aspects of the novel, character and background, while the sociological approach to literature using the theory of social mobility to assess the social mobility of the character‟ motivation to improve and maintain his social class. In this novel, there is found kind of social mobility that done Jay Gatsby. It is vertical social mobility. Vertical social mobility is divided into two forms, upward and downward. Vertical social mobility, up from the characters increase the level of the economy and increase social class through work and marriage. There are some motivation behind social mobility such as increasing and maintaining social class. Social mobility that occurs in the novel The Great Gatsby become an author's ideas reflect author‟s the social conditions. Through his ideas, the author intends to criticize how the importance of social class and social conditions of 1920s America while experiencing economic growth that brings influence to the people in hedonism and consumerism. So they do their social mobility in order to increase their economy level by the end justify the means. Keywords: novel, structural approach, sociology of literature, social mobility

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