...The Great Gatsby by F. Scott Fitzgerald is established as one of the most famous novels in American literature since its debut in 1925. Many English classes all around the country have had a required reading of the book and the story itself has captivated readers all around the world. Similarly to most well known books, The Great Gatsby was made into a movie in 2013. While there may be some common similarities between the two pieces, there are some distinct differences such as Jordan and Nick’s relationship, the modern spin on the film, along with Gatsby’s death that ultimately distinguish the movie apart from the book. The first difference is one that involves a two character relationship between Nick and Jordan. The director of the movie, Baz Luhrmann, cut out one of the notable side stories from the book: the romantic relationship between Nick with Jordan Baker. Jordan is a friend of Daisy’s who is described in the novel as a famous golfer. In...
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...the rest of the plot. It is difficult to dismiss Nick’s often-sensual descriptions of men, his vague encounter with the party guest Mr. McKee, and his strangely-distant relationship with Jordan Baker as irrelevant to Nick’s perspective as narrator; each seems to suggest at least a latent tendency towards homosexuality. If indeed we are to interpret these behaviors as homosexual, then the entire attraction towards Jay Gatsby that Nick builds his story upon becomes more complicated. Nick would not merely being telling the story of a person he found to be beautiful, but a man he found to beautiful. This distinction refocuses the novel’s purpose entirely. Nick Carrway may in fact be in love with Jay Gatsby, and because Nick (as a possibly unreliable narrator) may not be able to admit this to his readers or to himself, it falls to us, the readers, to draw our own conclusions. In his first mention of Gatsby, Nick admits that “If personality is an unbroken series of successful gestures, then there was something gorgeous about him…” (Fitzgerald 2). While this description is far from inherently-sexual, Nick’s choice of the word “gorgeous” (which he also uses to describe Gatsby’s car and pink suit later in the novel) plants a seed of curiosity in the mind of the reader; clearly Nick is attracted to Gatsby in some manner, though the nature of that attraction remains vague for the time being. This dynamic is colored further by Nick’s encounter with...
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...With The Great Gatsby, Fitzgerald made a conscious departure from the writing process of his previous novels. He started planning it in June 1922,[citation needed] after completing his play The Vegetable and began composing The Great Gatsby in 1923.[2] He ended up discarding most of it as a false start, some of which resurfaced in the story "Absolution".[3] Unlike his previous works, Fitzgerald intended to edit and reshape Gatsby thoroughly, believing that it held the potential to launch him toward literary acclaim. He told his editor Maxwell Perkins that the novel was a "consciously artistic achievement" and a "purely creative work — not trashy imaginings as in my stories but the sustained imagination of a sincere and yet radiant world". He added later, during editing, that he felt "an enormous power in me now, more than I've ever had".[4] Oheka Castle on the Gold Coast of Long Island was a partial inspiration for Gatsby's estate.[5] After the birth of their child, the Fitzgeralds moved to Great Neck, Long Island in October 1922, a setting used as the scene for The Great Gatsby.[6] Fitzgerald's neighbors in Great Neck included such prominent and newly wealthy New Yorkers as writer Ring Lardner, actor Lew Fields and comedian Ed Wynn.[3] These figures were all considered to be 'new money', unlike those who came from Manhasset Neck or Cow Neck Peninsula, places which were home to many of New York's wealthiest established families, and which sat across a bay from Great Neck...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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