
Novels (e.g., Ulysses, The Great Gatsby) ?
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Here’s what I found about these literary masterpieces:
- A monumental masterpiece: Considered one of the greatest novels ever written, Ulysses is a complex and experimental exploration of a single day in the life of Leopold Bloom, an ordinary man living in Dublin.
- Stream-of-consciousness style: Joyce employs a revolutionary narrative technique called stream-of-consciousness, which immerses the reader in Bloom’s thoughts and experiences.
- Challenging but rewarding: Ulysses is notoriously difficult to read, but its rewards are immense for those who persevere. It offers a rich and insightful look into human nature, the power of language, and the complexities of modern urban life.
- Learn more: You can find more information about Ulysses on Britannica.
The Great Gatsby by F. Scott Fitzgerald:
- A classic American novel: The Great Gatsby is a timeless exploration of the American Dream, greed, and the pursuit of wealth and status. It tells the story of Jay Gatsby, a mysterious millionaire who is obsessed with winning back his lost love, Daisy Buchanan.
- Jazz Age decadence: Set in the glamorous Jazz Age of the 1920s, The Great Gatsby captures the spirit of an era defined by excess, materialism, and disillusionment.
- Themes of love, loss, and betrayal: The novel delves into the complexities of human relationships, exploring themes of love, loss, and betrayal.
- Learn more: You can find more information about The Great Gatsby on Wikipedia.
Here are some other notable novels you might enjoy:
- To Kill a Mockingbird by Harper Lee: A Pulitzer Prize-winning masterpiece that tells the story of a young girl named Scout growing up in the South during the 1930s. The novel deals with themes of racial injustice, prejudice, and coming of age.
- The Catcher in the Rye by J.D. Salinger: A controversial and influential novel that follows Holden Caulfield, a disillusioned teenager who is expelled from prep school and wanders around New York City. The novel explores themes of alienation, identity, and loss of innocence.
- 1984 by George Orwell: A dystopian novel that imagines a future where a totalitarian government controls every aspect of people’s lives. 1984 is a chilling exploration of the dangers of totalitarianism and the importance of individual freedom.
- Pride and Prejudice by Jane Austen: A classic love story that follows the Bennet sisters as they navigate the social conventions of Regency England. Pride and Prejudice is a witty and insightful commentary on class, marriage, and the nature of love.
- Moby Dick by Herman Melville: A sprawling, epic novel about a whaling ship’s pursuit of the white whale Moby Dick. Moby Dick is a complex and symbolic exploration of themes of obsession, revenge, and the nature of man’s relationship with the natural world.
I hope this helps! Let me know if you have any other questions.
What is Novels (e.g., Ulysses, The Great Gatsby) ?
A novel is a long, fictional narrative written in prose. It’s one of the most popular forms of literature, offering authors a vast canvas to explore complex characters, intricate plots, and diverse themes.
Here’s a breakdown of key characteristics:
- Fiction: Novels are works of imagination, though they may be inspired by real events or people.
- Narrative: They tell a story, with a beginning, middle, and end.
- Prose: Novels are written in ordinary language, as opposed to poetry or drama.
- Length: Novels are typically longer than short stories or novellas, allowing for more detailed development of characters and plot.
- Exploration of human experience: Novels delve into the depths of human emotions, motivations, and relationships, offering insights into the human condition.
- Social commentary: They can address social issues, challenge societal norms, and spark important conversations.
- Entertainment and escape: Novels provide readers with entertainment, escapism, and the opportunity to experience different worlds and perspectives.
- Cultural significance: Many novels become important cultural artifacts, reflecting the values and beliefs of a particular time and place.
Examples like Ulysses and The Great Gatsby:
- Ulysses: This modernist novel by James Joyce is known for its stream-of-consciousness narrative style and its exploration of a single day in the life of an ordinary man in Dublin. It’s considered a groundbreaking work of literature due to its experimental nature and its profound insights into human consciousness.
- The Great Gatsby: F. Scott Fitzgerald’s classic American novel captures the essence of the Jazz Age, exploring themes of wealth, class, love, and the American Dream. It’s celebrated for its beautiful prose, its vivid portrayal of the Roaring Twenties, and its enduring commentary on American society.
These are just two examples of the vast and diverse world of novels. They come in many genres, including romance, mystery, science fiction, historical fiction, and more. Each novel offers a unique reading experience and contributes to the rich tapestry of literature.
Who is required Novels (e.g., Ulysses, The Great Gatsby) ?
While anyone can read novels like Ulysses and The Great Gatsby, they are often “required” in specific contexts, primarily within educational settings. Here’s a breakdown:
- High school and university literature courses: These novels are frequently part of the curriculum in advanced literature classes. They are chosen for their literary merit, their exploration of complex themes, and their influence on literary history. Students are required to read them to:
- Develop critical thinking and analytical skills.
- Understand different literary styles and techniques.
- Gain a deeper understanding of historical and cultural contexts.
- Engage with important ideas and debates.
- English and literature majors: Students pursuing degrees in these fields will almost certainly encounter these novels as part of their studies. They are considered foundational texts for understanding literary movements and traditions.
- Advanced placement (AP) English courses: These courses, offered in high school, prepare students for college-level work in English. Novels like Ulysses and The Great Gatsby are often included in the reading list.
Why these novels in particular?
- Ulysses: This novel is a landmark of modernist literature, known for its stream-of-consciousness style, its complex structure, and its exploration of human consciousness. Studying it helps students understand the development of 20th-century literature.
- The Great Gatsby: This novel is considered a classic of American literature, offering a critical look at the American Dream, the Roaring Twenties, and the social dynamics of wealth and class. It’s often used to explore themes of identity, disillusionment, and the pursuit of happiness.
It’s important to note that while these novels might be “required” in academic settings, they can also be enjoyed by anyone who is interested in literature and willing to engage with challenging and rewarding texts.
When is required Novels (e.g., Ulysses, The Great Gatsby) ?
As I mentioned before, novels like Ulysses and The Great Gatsby are typically required within educational contexts. Here’s a more specific timeline of when you might encounter them:
- 11th or 12th Grade (Junior or Senior Year): This is the most common time for these novels to appear in the curriculum.
- American Literature courses: The Great Gatsby is often included in courses focusing on American literature, especially those covering the 20th century and the Jazz Age.
- Advanced Placement (AP) English Literature and Composition: These courses are designed to be equivalent to introductory college literature courses, so challenging works like Ulysses or excerpts from it might be included.
- Freshman or Sophomore Year (First or Second Year): In college, these novels might be encountered in:
- Introduction to Literature courses: These survey courses often cover a range of literary periods and movements, including modernism (where Ulysses fits) and the American literary tradition (where The Great Gatsby is central).
- English or Literature major courses: Students majoring in these fields will likely encounter these novels in more specialized courses focusing on specific authors, literary movements, or historical periods.
Factors that influence when these novels are required:
- Curriculum design: Each school or university has its own curriculum, which dictates when specific works are taught.
- Course level: More challenging and complex novels are typically assigned in higher-level courses.
- Instructor’s choice: Individual teachers and professors often have some flexibility in choosing the texts they teach, though they usually adhere to general curriculum guidelines.
It’s important to remember that these are just general guidelines. Some schools might introduce these novels earlier or later, or not at all. However, if you are pursuing advanced studies in literature, you are very likely to encounter them at some point.
COURTESY : Study Lovers Kapil Gangwani
Where is required Novels (e.g., Ulysses, The Great Gatsby) ?
You’re right to ask “where” these novels are required, as it helps to further define the context. Here are the primary places you’ll find Ulysses and The Great Gatsby as required reading:
- High Schools:
- Specifically in advanced English classes: These include honors courses, Advanced Placement (AP) English Literature and Composition, and International Baccalaureate (IB) Literature programs. These programs aim to provide a more rigorous and in-depth study of literature.
- In countries with strong literary traditions: You might find these novels in high school curricula in countries with a strong emphasis on literary studies, such as the United States, the United Kingdom, Ireland (for Ulysses particularly), and other countries with robust humanities programs.
- Universities and Colleges:
- English and Literature Departments: This is the most common place. Courses might include:
- Introduction to Literary Studies: These foundational courses often include excerpts or selections from Ulysses to introduce students to modernism. The Great Gatsby is frequently used to represent American literary modernism or the Jazz Age.
- American Literature courses: The Great Gatsby is a staple in courses focusing on 20th-century American literature, the Lost Generation, or the Roaring Twenties.
- Modernist Literature courses: Ulysses is central to understanding this important literary movement.
- Author-specific courses: Dedicated courses on James Joyce or F. Scott Fitzgerald will delve deeply into these works.
- Humanities and Liberal Arts Programs: Even if not majoring in English, students in these broader programs might encounter these novels in courses that explore cultural history, intellectual movements, or the development of Western thought.
- English and Literature Departments: This is the most common place. Courses might include:
- Online courses and degree programs: Many online learning platforms offer literature courses, some of which may include these novels.
- Massive Open Online Courses (MOOCs): Platforms like Coursera or edX sometimes host courses on specific authors or literary periods that include these works.
- Not every school or university requires these novels. Curricula vary, and some institutions may choose other works to represent similar themes or literary movements.
- The level of engagement varies. In some cases, students might read excerpts or selected chapters, while in others, they will be expected to read the entire novel.
Essentially, you’ll find these novels required in educational settings that prioritize a deep understanding of literary history, complex themes, and the development of literary styles.Sources and related content
How is required Novels (e.g., Ulysses, The Great Gatsby) ?
You’re asking about the methods and reasons behind requiring these novels, which is a great question! Here’s a breakdown of “how” Ulysses and The Great Gatsby are required, focusing on the pedagogical approaches:
1. As Examples of Literary Movements:
- Modernism:Ulysses is a cornerstone of literary modernism, a movement that broke with traditional narrative structures and explored new ways of representing consciousness and experience. Requiring it helps students understand:
- Stream of consciousness: This narrative technique, prominent in Ulysses, presents thoughts as they flow through a character’s mind.
- Experimentation with form: Modernist writers experimented with fragmentation, non-linear timelines, and other techniques that challenged traditional storytelling.
- Themes of alienation, fragmentation, and the search for meaning in a changing world.
- The Jazz Age/The Roaring Twenties:The Great Gatsby captures the social and cultural atmosphere of this era in American history. Requiring it helps students understand:
- The American Dream: The novel critiques the pursuit of wealth and status, and the idea that anyone can achieve success through hard work.
- Social class and inequality: The novel explores the divisions between the wealthy elite and those from less privileged backgrounds.
- Themes of love, loss, and disillusionment in a time of rapid social change.
2. To Develop Critical Thinking and Analytical Skills:
- Close reading: Students are taught to carefully analyze the language, imagery, and symbolism in these novels.
- Interpretation: Because these novels are complex and open to multiple interpretations, students are encouraged to develop their own understanding of the text and support it with evidence.
- Contextualization: Students are asked to consider the historical, social, and cultural contexts in which these novels were written.
3. To Explore Complex Themes and Ideas:
- Human nature: Both novels delve into the complexities of human motivation, relationships, and desires.
- The search for identity: Characters in both novels grapple with questions of who they are and what they want from life.
- The nature of reality: Ulysses, in particular, challenges traditional notions of time, space, and consciousness.
4. Through Various Pedagogical Methods:
- Class discussions: These provide a forum for students to share their interpretations and engage in debate.
- Essays and papers: These require students to develop and articulate their own arguments about the novels.
- Presentations and projects: These allow students to explore specific aspects of the novels in more creative ways.
In essence, these novels are required not just for the stories they tell, but for the opportunities they provide to develop crucial skills in critical thinking, analysis, and interpretation, while also gaining a deeper understanding of literary history and important cultural contexts.
Case study is Novels (e.g., Ulysses, The Great Gatsby) ?
You’re hitting on a really interesting point about how we can approach literature! While novels like Ulysses and The Great Gatsby aren’t “case studies” in the traditional sense (like in business or medicine), they can be analyzed as if they were, offering rich insights into various aspects of human experience and society. Here’s how:
- Psychological Case Study: We can examine characters like Jay Gatsby or Leopold Bloom as psychological case studies, analyzing their motivations, behaviors, and inner conflicts.
- Gatsby: His obsessive pursuit of the past, his constructed persona, and his ultimate downfall can be analyzed through the lens of psychology, exploring themes of delusion, longing, and the destructive nature of illusion.
- Bloom: His stream of consciousness in Ulysses offers a deep dive into the workings of the human mind, revealing the complexities of thought, memory, and perception.
- Sociological Case Study: Characters can also be seen as representatives of social groups or phenomena.
- Gatsby: He embodies the “new money” class of the Roaring Twenties, reflecting the changing social dynamics and the pursuit of wealth and status in that era.
- Bloom: As an ordinary man in Dublin, he represents the everyday experiences of urban life in the early 20th century.
2. The Novel as a Case Study of a Specific Time or Place:
- Historical Case Study:The Great Gatsby provides a detailed portrait of the Jazz Age, its social customs, its economic conditions, and its cultural values. It can be used to understand:
- The Roaring Twenties: The era’s economic boom, social changes, and cultural trends.
- The American Dream: Its promises and its potential for corruption.
- Cultural Case Study:Ulysses offers a rich depiction of Dublin in 1904, its social life, its political climate, and its unique cultural identity. It can be used to explore:
- Irish culture and history: Its traditions, its struggles, and its relationship with England.
- Urban life in the early 20th century: The experiences of living in a rapidly changing city.
3. Applying Theoretical Frameworks:
- Literary Theory: Various literary theories (like psychoanalysis, Marxism, feminism) can be applied to these novels to analyze them from different perspectives.
- Social Sciences: Concepts from sociology, psychology, history, and other disciplines can be used to understand the characters, themes, and contexts of these works.
In Conclusion:
By approaching novels like Ulysses and The Great Gatsby as case studies, we can gain a deeper understanding of not only the works themselves but also the human condition, social dynamics, and historical and cultural contexts they represent. This approach encourages critical thinking, interdisciplinary analysis, and a richer engagement with literature.
COURTESY : CrashCourse
White paper on Novels (e.g., Ulysses, The Great Gatsby) ?
It’s an interesting idea to frame an analysis of Ulysses and The Great Gatsby as a “white paper.” While not traditionally the format for literary analysis, we can adapt the concept to create a focused, authoritative report on these novels. Here’s a possible structure and content for such a “white paper”:
Title: Exploring the Enduring Significance of Ulysses and The Great Gatsby in the 21st Century
Executive Summary:
- Briefly introduce Ulysses and The Great Gatsby as seminal works of 20th-century literature.
- State the purpose of the white paper: to examine their enduring relevance and impact on contemporary readers.
- Summarize the key findings: their exploration of universal themes, their innovative narrative techniques, and their continued influence on literature and culture.
1. Introduction:
- Provide historical context: Briefly discuss the time periods in which the novels were written (early 20th century for Ulysses, the Jazz Age for The Great Gatsby).
- Establish their literary significance: Highlight their status as classics and their influence on subsequent writers.
- State the scope of the white paper: Focus on specific themes, techniques, or aspects of the novels.
2. Ulysses: A Deep Dive into Modern Consciousness:
- Narrative Innovation: Analyze Joyce’s use of stream of consciousness, interior monologue, and other experimental techniques.
- Themes of Identity and Alienation: Explore Leopold Bloom’s journey through Dublin and his search for meaning in a fragmented world.
- Cultural Significance: Discuss the novel’s impact on modernist literature and its exploration of Irish identity.
3. The Great Gatsby: A Critique of the American Dream:
- Social Commentary: Examine Fitzgerald’s portrayal of the Roaring Twenties, its social inequalities, and its obsession with wealth and status.
- Themes of Love, Loss, and Illusion: Analyze Gatsby’s pursuit of Daisy and the tragic consequences of his idealized vision of the past.
- Enduring Relevance: Discuss the novel’s continued resonance with contemporary readers in its exploration of the American Dream and its potential for corruption.
- Shared Themes: Identify common themes between the two novels, such as the search for identity, the exploration of human relationships, and the critique of social norms.
- Contrasting Styles: Compare and contrast their narrative techniques, their use of language, and their overall tone.
5. Impact and Influence:
- Literary Influence: Discuss how these novels have influenced subsequent writers and literary movements.
- Cultural Impact: Explore their presence in popular culture, adaptations, and ongoing critical discussions.
6. Conclusion:
- Reiterate the enduring significance of Ulysses and The Great Gatsby.
- Summarize their key contributions to literature and their continued relevance for contemporary readers.
- Offer potential avenues for further exploration or research.
Key Features of a “White Paper” Approach:
- Authoritative Tone: The writing should be clear, concise, and well-supported by evidence from the texts and relevant scholarship.
- Focused Analysis: The paper should focus on specific aspects of the novels, rather than attempting a comprehensive overview.
- Objective Presentation: While interpretation is important, the analysis should be grounded in textual evidence and avoid overly subjective opinions.
- Clear Structure: The paper should be organized logically with clear headings and subheadings.
By adopting this “white paper” approach, we can create a focused and insightful analysis of Ulysses and The Great Gatsby that highlights their enduring significance and relevance in the 21st century.Sources and related content
Industrial application of Novels (e.g., Ulysses, The Great Gatsby) ?
It’s unusual to think of applying novels like Ulysses and The Great Gatsby to “industrial applications” in the traditional sense of manufacturing or engineering. However, their exploration of human behavior, social dynamics, and cultural trends can be highly relevant in fields that deal with people, communication, and understanding complex systems. Here are some potential areas:
- Understanding Consumer Behavior: Both novels offer deep insights into human motivations, desires, and aspirations. The Great Gatsby, in particular, explores the allure of status, wealth, and the “American Dream,” which can be valuable for marketers seeking to understand consumer psychology.
- Narrative and Storytelling: The narrative techniques used in these novels, such as stream of consciousness and shifting perspectives, can inspire more engaging and effective storytelling in advertising and marketing campaigns.
- Cultural Trends: By studying the social and cultural contexts depicted in these novels, marketers can gain a better understanding of evolving trends and consumer preferences.
2. Human Resources and Management:
- Understanding Workplace Dynamics: The novels’ exploration of social hierarchies, interpersonal relationships, and conflicts can be relevant to understanding workplace dynamics and improving organizational culture.
- Leadership and Motivation: Characters like Gatsby, with his charisma and drive, can be analyzed to understand different leadership styles and their impact on individuals and groups.
- Communication and Empathy: The emphasis on interiority and perspective in these novels can encourage greater empathy and more effective communication in the workplace.
3. User Experience (UX) Design:
- User-Centered Design: By understanding the complexities of human thought and behavior as depicted in these novels, UX designers can create more intuitive and user-friendly products and services.
- Narrative and User Journeys: The narrative structures of these novels can inspire more engaging and meaningful user experiences.
4. Social Sciences and Research:
- Qualitative Research: These novels can be used as rich sources of qualitative data for research in sociology, psychology, and cultural studies.
- Understanding Social Change: By studying the social and cultural contexts depicted in these novels, researchers can gain insights into the processes of social change and its impact on individuals and communities.
- Film, Television, and Theater: These novels have been adapted into various forms of media, demonstrating their potential for creative adaptation and interpretation.
- Writing and Storytelling: The innovative narrative techniques and rich character development in these novels can inspire writers and storytellers in various fields.
Important Note:
It’s crucial to recognize that applying these novels to industrial applications is not about directly translating their plots or characters into business strategies. Rather, it’s about drawing on their insights into human nature, social dynamics, and cultural trends to inform decision-making and enhance understanding in various professional fields.
Research and development of Novels (e.g., Ulysses, The Great Gatsby) ?
You’re prompting a very insightful line of thought! It’s not common to think of “research and development” in the traditional scientific sense when it comes to novels, but there’s a fascinating way to apply this concept to Ulysses and The Great Gatsby.
1. “Research” in the Context of Novel Writing:
- Social and Cultural Research: Both Joyce and Fitzgerald engaged in a form of “research” by immersing themselves in the social and cultural milieus they depicted.
- Joyce and Dublin: Joyce meticulously researched Dublin life, incorporating real locations, events, and cultural details into Ulysses. This involved observing people, studying maps, and delving into the city’s history.
- Fitzgerald and the Jazz Age: Fitzgerald captured the essence of the Roaring Twenties through his observations of high society, his understanding of the changing social dynamics, and his exploration of the era’s cultural trends.
- Psychological Research: Both authors delved into the complexities of human psychology, exploring themes of consciousness, motivation, and relationships.
- Stream of Consciousness: Joyce’s innovative use of stream of consciousness in Ulysses can be seen as a form of “research” into the workings of the human mind.
- Character Development: Fitzgerald’s careful development of characters like Gatsby and Daisy reflects his understanding of human nature and social interaction.
2. “Development” in the Context of Novel Writing:
- Literary Innovation: Both novels represent significant “development” in the art of storytelling.
- Modernist Techniques: Joyce’s experimentation with stream of consciousness, fragmentation, and other modernist techniques pushed the boundaries of the novel form.
- Narrative Structure: Fitzgerald’s use of a first-person narrator and his carefully crafted plot structure contributed to the development of novelistic techniques.
- Thematic Exploration: Both novels “developed” important themes that continue to resonate with readers.
- The Human Condition: Both novels explore universal themes of love, loss, identity, and the search for meaning.
- Social Commentary: Both novels offer critiques of social norms, inequalities, and cultural values.
3. Ongoing “Research and Development” through Literary Criticism:
- Scholarly Research: Literary scholars continue to conduct research on these novels, exploring new interpretations, historical contexts, and their influence on other works.
- Critical Analysis: Ongoing critical analysis of these novels contributes to our understanding of their themes, techniques, and enduring significance.
- Adaptations and Interpretations: Adaptations of these novels in film, theater, and other media represent ongoing “development” and reinterpretation of their stories and themes.
In Conclusion:
While not “research and development” in the traditional industrial sense, the creation and ongoing study of novels like Ulysses and The Great Gatsby involve a form of intellectual and creative exploration that can be understood through this framework. This includes:
- Investigating and representing social, cultural, and psychological realities.
- Developing new ways of telling stories and exploring complex themes.
- Continuously reinterpreting and reevaluating these works in light of new perspectives and contexts.
Sources and related content
COURTESY : GuigLit
References
- ^ Donahue 2013a.
- ^ Fitzgerald 1945, p. 16, “Echoes of the Jazz Age”.
- ^ Jump up to:a b c Fitzgerald 1945, p. 18, “Echoes of the Jazz Age”.
- ^ Fitzgerald 1945, p. 15, “Echoes of the Jazz Age”: “Scarcely had the staider citizens of the republic caught their breaths when the wildest of all generations, the generation which had been adolescent during the confusion of the [Great] War, brusquely shouldered my contemporaries out of the way and danced into the limelight. This was the generation whose girls dramatized themselves as flappers.”
- ^ Donahue 2013a.
- ^ Jump up to:a b Fitzgerald 1945, pp. 14–15, “Echoes of the Jazz Age”: “Unchaperoned young people of the smaller cities had discovered the mobile privacy of that automobile given to young Bill at sixteen to make him ‘self-reliant’. At first petting was a desperate adventure even under such favorable conditions, but presently confidences were exchanged and the old commandment broke down“.
- ^ Jump up to:a b c Bruccoli 2000, pp. 53–54.
- ^ Gallo 1978, pp. 40–41; Donahue 2013a; Gross 1998, p. 167.
- ^ Fitzgerald 1945, p. 15, “Echoes of the Jazz Age”.
- ^ Fitzgerald 1945, pp. 13–22: Fitzgerald documented the Jazz Age and his life’s relation to the era in his essay, “Echoes of the Jazz Age” which was published in the essay collection The Crack-Up.
- ^ Mizener 1965, pp. 11, 129, 140.
- ^ Mizener 1965, pp. 30–31.
- ^ Jump up to:a b Smith 2003: Fitzgerald later confided to his daughter Frances Scott Fitzgerald that Ginevra King “was the first girl I ever loved” and that he “faithfully avoided seeing her” to “keep the illusion perfect”.
- ^ Mizener 1965, p. 50.
- ^ West 2005, p. 35.
- ^ Smith 2003: “That August Fitzgerald visited Ginevra in Lake Forest, Illinois. Afterward he wrote in his ledger foreboding words, spoken to him perhaps by Ginevra’s father, ‘Poor boys shouldn’t think of marrying rich girls'”.
- ^ Mizener 1965, p. 70.
- ^ Jump up to:a b Bruccoli 2002, pp. 80, 82. Fitzgerald wished to be killed in battle, and he hoped that his novel would become a great success in the wake of his death.
- ^ Mizener 1965, pp. 79–80.
- ^ West 2005, p. 73; Bruccoli 2002, pp. 86, 91
- ^ Bruccoli 2002, p. 91.
- ^ Mizener 1965, pp. 85, 89, 90: “Zelda would question whether he was ever going to make enough money for them to marry”, and Fitzgerald was compelled to prove that “he was rich enough for her”.
- ^ Wagner-Martin 2004, p. 24.
- ^ Wagner-Martin 2004, p. 24; Bruccoli 2002, pp. 189, 437.
- ^ Turnbull 1962, p. 111: “Zelda was no housekeeper. Sketchy about ordering meals, she completely ignored the laundry”.
- ^ Mizener 1965, pp. 79–82.
- ^ Mizener 1965, p. 87: “Fame and fortune did not seem to be materializing on schedule for Fitzgerald, and Zelda was fretting her time away in Montgomery wondering if she ought not to marry one of her more eligible and financially better equipped admirers”.
- ^ Mizener 1965, p. 164.
- ^ Mizener 1965, pp. 135, 140.
- ^ Mizener 1965, pp. 140–41.
- ^ Mizener 1965, p. 140: Although Fitzgerald strove “to become member of the community of the rich, to live from day to day as they did, to share their interests and tastes”, he found such a privileged lifestyle to be morally disquieting.
- ^ Jump up to:a b Mizener 1965, p. 141: Fitzgerald “admired deeply the rich” and yet his wealthy friends often disappointed or repulsed him. Consequently, he harbored “the smouldering hatred of a peasant” towards the wealthy and their milieu.
- ^ Lask 1971: The valley of ashes was a landfill in Flushing Meadows, Queens. “In those empty spaces and graying heaps, part of which was known as the Corona Dumps, Fitzgerald found his perfect image for the callous and brutal betrayal of the incurably innocent Gatsby”. Flushing Meadows was drained and became the location of the 1939 World’s Fair.
- ^ Fitzgerald 1991, pp. 39, 188.
- ^ Mizener 1965, p. 190.
- ^ McCullen 2007, pp. 11–20.
- ^ Jump up to:a b c Bruccoli 2002, p. 178: “Jay Gatsby was inspired in part by a local figure, Max Gerlach. Near the end of her life Zelda Fitzgerald said that Gatsby was based on ‘a neighbor named Von Guerlach or something who was said to be General Pershing‘s nephew and was in trouble over bootlegging'”.
- ^ Kruse 2002, pp. 45–46.
- ^ Jump up to:a b Conor 2004, p. 301: “Fitzgerald’s literary creation Daisy Buchanan in The Great Gatsby was identified with the type of the flapper. Her pictorial counterpart was drawn by the American cartoonist John Held Jr., whose images of party-going flappers who petted in cars frequented the cover of the American magazine Life during the 1920s”.
- ^ Corrigan 2014, p. 58: “Because she’s the one who got away, Ginevra—even more than Zelda—is the love who lodged like an irritant in Fitzgerald’s imagination, producing the literary pearl that is Daisy Buchanan”.
- ^ Borrelli 2013.
- ^ Fitzgerald 1991, p. 9: “His speaking voice, a gruff husky tenor, added to the impression of fractiousness he conveyed. There was a touch of paternal contempt in it, even toward people he liked”.
- ^ Slater 1973, p. 54; Bruccoli 2000, pp. 9–11, 246; Baker 2016.
- ^ Kruse 2014, pp. 82–88.
- ^ Jump up to:a b Bruccoli 2000, pp. 9–11, 246; Bruccoli 2002, p. 86; West 2005, pp. 66–70.
- ^ West 2005, pp. 4, 57–59.
- ^ Bruccoli 2002, p. 211.
- ^ West 2005, pp. 57–59.
- ^ Bruccoli 2000, pp. 9–11.
- ^ Whipple 2019, p. 85.
- ^ Fitzgerald 1991, p. 184. Editor Matthew J. Bruccoli notes: “This name combines two automobile makes: The sporty Jordan and the conservative Baker electric“.
- ^ Tredell 2007, p. 124: An index note refers to Laurence E. MacPhee’s “The Great Gatsby’s Romance of Motoring: Nick Carraway and Jordan Baker”, Modern Fiction Studies, 18 (Summer 1972), pp. 207–212.
- ^ Fitzgerald 2006, p. 95; Fitzgerald 1997, p. 184.
- ^ Fitzgerald 1991, p. 23.
- ^ Fitzgerald 2006, p. 18; Tate 2007, p. 101.
- ^ Tredell 2007, p. 64.
- ^ Tredell 2007, pp. 54–55; Fitzgerald 1991, pp. 28–29.
- ^ Fitzgerald 2006, p. 18; Tate 2007, p. 101; Fitzgerald 1991, p. 107.
- ^ Mizener 1965, p. 184.
- ^ Jump up to:a b c d e f g Mizener 1960.
- ^ Curnutt 2004, p. 58; Bruccoli 2002, p. 185.
- ^ Fitzgerald 1963, p. 189.
- ^ Turnbull 1962, p. 150.
- ^ Murphy 2010: From Fall 1922 to Spring 1924, Fitzgerald and his wife Zelda resided at 6 Gateway Drive in Great Neck, New York. While reflecting upon the wild parties held during the Jazz Age on “that slender riotous island”, Fitzgerald wrote the early story fragments which would become The Great Gatsby.
- ^ Jump up to:a b Bruccoli 2000, pp. 38–39.
- ^ Kellogg 2011.
- ^ Bruccoli 2000, p. 45.
- ^ Randall 2003, pp. 275–277.
- ^ Kruse 2014, pp. 13–14: Biographer Arthur Mizener wrote in a January 1951 letter to Max Gerlach that “Edmund Wilson, the literary critic, told me that Fitzgerald came to his house, apparently from yours [Gerlach’s], and told him with great fascination about the life you were leading. Naturally, it fascinated him as all splendor did”.
- ^ Jump up to:a b Kruse 2014, pp. 23–24.
- ^ Kruse 2014, p. 20.
- ^ Kruse 2002, p. 51.
- ^ Kruse 2014, pp. 6, 20.
- ^ Kruse 2002, pp. 53–54, 47–48, 63–64.
- ^ Bruccoli 2002, p. 178; Kruse 2002, pp. 47–48; Kruse 2014, p. 15.
- ^ Kruse 2014, p. 15.
- ^ Kruse 2002, p. 47.
- ^ Bruccoli 2002, p. 178.
- ^ Kruse 2002, p. 60.
- ^ Kruse 2002, pp. 45–83; Bruccoli 2002, p. 178.
- ^ Lopate 2014; Churchwell 2013a, pp. 1–9.
- ^ Powers 2013, pp. 9–11.
- ^ West 2002, p. xi.
- ^ Bruccoli 2000, pp. 53–54; Eble 1974, p. 37; Haglund 2013.
- ^ Fitzgerald 1991, pp. xvi, xx.
- ^ Fitzgerald 1991, p. xxvii.
- ^ Eble 1964, p. 325.
- ^ Bruccoli 2002, p. 178; Bruccoli 1978, p. 176.
- ^ Jump up to:a b Alter 2013.
- ^ Bruccoli 2002, p. 190: Fitzgerald wrote in his private ledger: “Out of woods at last and starting novel”.
- ^ Jump up to:a b c Eble 1974, p. 37.
- ^ Flanagan 2000; Leader 2000, pp. 13–15.
- ^ Quirk 1982, p. 578.
- ^ Jump up to:a b Bruccoli 1978, pp. 171–172; Quirk 1982, p. 578.
- ^ Harvey 1995, p. 76: “Marian Forrester, then, represents the American Dream boldly focused on self, almost fully disengaged from the morals and ethics to which it had been tied in the nineteenth century”.
- ^ Funda 1995, p. 275; Rosowski 1977, p. 51.
- ^ Jump up to:a b c Scribner 1992, pp. 145–146: “Since there were at most a couple of weeks between the commission and Fitzgerald’s departure for France, it is likely that what he had seen—and “written into the book”—was one or more of Cugat’s preparatory sketches which were probably shown to him at Scribners before he set sail”.
- ^ Jump up to:a b Scribner 1992, pp. 143–144.
- ^ Bruccoli 2002, p. 195; Milford 1970, p. 112; Howell 2013.
- ^ Bruccoli 2002, p. 206.
- ^ Jump up to:a b Perkins 2004, pp. 27–30.
- ^ Eble 1974, p. 38.
- ^ Tate 2007, p. 326.
- ^ Bruccoli 2000, pp. 54–56; Bruccoli 2002, p. 215.
- ^ Bruccoli 2002, p. 213.
- ^ Bruccoli 2002, p. 215.
- ^ F. Scott Fitzgerald’s ledger 1919–1938; Zuckerman 2013.
- ^ Jump up to:a b c d Mizener 1965, p. 185; Bruccoli 2002, pp. 206–207.
- ^ The Economist 2012.
- ^ Jump up to:a b c d Vanderbilt 1999, p. 96.
- ^ Bruccoli 2002, p. 207.
- ^ West 2002.
- ^ Fitzgerald 1991, p. 88, Chapter 7, opening sentence: “It was when curiosity about Gatsby was at its highest that the lights in his house failed to go on one Saturday night—and, as obscurely as it had begun, his career as Trimalchio was over”.
- ^ Fitzgerald 2000, pp. vii–viii: Tanner’s introduction to the Penguin Books edition.
- ^ Hill, Burns & Shillingsburg 2002, p. 331.
- ^ Fitzgerald & Perkins 1971, p. 87.
- ^ Bruccoli 2002, pp. 206–207.
- ^ Tate 2007, p. 87: “He settled on The Great Gatsby in December 1924, but in January and March 1925 he continued to express his concern to Perkins about the title, cabling from CAPRI on March 19: CRAZY ABOUT TITLE UNDER THE RED WHITE AND BLUE STOP WHART [sic] WOULD DELAY BE”
- ^ Jump up to:a b c Churchwell 2013b.
- ^ Lipton 2013: “Fitzgerald, who despised the title The Great Gatsby and toiled for months to think of something else, wrote to Perkins that he had finally found one: Under the Red, White, and Blue. Unfortunately, it was too late to change”.
- ^ Lazo 2003, p. 75.
- ^ Bruccoli 2002, pp. 215–217.
- ^ Scribner 1992, pp. 141–155.
- ^ Jump up to:a b Scribner 1992, p. 141.
- ^ Bruccoli 2002, p. 202.
- ^ Jump up to:a b Scribner 1992, pp. 140–155.
- ^ Scribner 1992, p. 146.
- ^ Scribner 1992, pp. 148–149.
- ^ Scribner 1992, pp. 149–151.
- ^ Scribner 1992, pp. 149–153.
- ^ Scribner 1992, p. 154.
- ^ Scribner 1992, pp. 145, 154.
- ^ Scribner 1992, pp. 143, 154.
- ^ Scribner 1992, p. 145: “It is entirely conceivable that Fitzgerald had never seen Cugat’s final, finished artwork”.
- ^ Jump up to:a b Scribner 1992, p. 142.
- ^ Scribner 1992, pp. 140–155: “We are left then with the enticing possibility that Fitzgerald’s arresting image was originally prompted by Cugat’s fantastic apparitions over the valley of ashes; in other words, that the author derived his inventive metamorphosis from a recurrent theme of Cugat’s trial jackets, one which the artist himself was to reinterpret and transform through subsequent drafts”.
- ^ Hemingway 1964, p. 176: “Scott brought his book over. It had a garish dust jacket and I remember being embarrassed by the violence, bad taste, and slippery look of it. It looked like the book jacket for a book of bad science fiction. Scot told me not to be put off by it, that it had to do with a billboard along a highway in Long Island that was important in the story. He said he had liked the jacket and now he didn’t like it. I took it off to read the book”.
- ^ Jump up to:a b Bruccoli 2002, p. 217.
- ^ Jump up to:a b O’Meara 2002, p. 49; Bruccoli 2002, p. 217.
- ^ Bruccoli 2002, p. 218.
- ^ Mizener 1960; Quirk 1982, p. 576.
- ^ Bruccoli 2002, p. 217; Mizener 1965, p. 193.
- ^ Clark 1925.
- ^ Ford 1925.
- ^ New York Post 1925.
- ^ New York Herald Tribune 1925.
- ^ Mencken 1925, p. 9: “The Great Gatsby is in form no more than a glorified anecdote, and not too probable at that. The story for all its basic triviality has a fine texture; a careful and brilliant finish … What gives the story distinction is something quite different from the management of the action or the handling of the characters; it is the charm and beauty of the writing”.
- ^ Eagleton 1925: “[Fitzgerald] is considered a Roman candle which burned brightly at first but now flares out”.
- ^ Coghlan 1925.
- ^ Snyder 1925.
- ^ McClure 1925.
- ^ Fitzgerald 1945, p. 270, Letter to Edmund Wilson.
- ^ Bruccoli 2002, p. 219; Flanagan 2000; Leader 2000, pp. 13–15.
- ^ Kruse 2002, p. 75.
- ^ O’Meara 2002, p. 49.
- ^ Jump up to:a b Bruccoli 2000, p. 175.
- ^ Howell 2013; F. Scott Fitzgerald’s ledger 1919–1938.
- ^ Jump up to:a b c Rimer 2008.
- ^ Donahue 2013b: “When ‘Gatsby’ author F. Scott Fitzgerald died in 1940, he thought he was a failure”.
- ^ Fitzgerald’s obituary 1940: “The best of his books, the critics said, was The Great Gatsby. When it was published in 1925 this ironic tale of life on Long Island, at a time when gin was the national drink and sex the national obsession, it received critical acclaim. In it, Mr. Fitzgerald was at his best”.
- ^ Mizener 1960: “Writers like John O’Hara were showing its influence and younger men like Edward Newhouse and Budd Schulberg, who would presently be deeply affected by it, were discovering it”.
- ^ Cole 1984, p. 25.
- ^ Cole 1984, p. 26: “One hundred fifty-five thousand ASE copies of The Great Gatsby were distributed-as against the twenty-five thousand copies of the novel printed by Scribners between 1925 and 1942″.
- ^ Wittels 1945: “Troops showed interest in books about the human mind and books with sexual situations were grabbed up eagerly. One soldier said that books with ‘racy’ passages were as popular as ‘pin-up girls'”.
- ^ Mizener 1960; Verghis 2013.
- ^ Bruccoli 2002, p. 217; Mizener 1960.
- ^ Verghis 2013.
- ^ Mizener 1965.
- ^ Mizener 1965, p. 183.
- ^ Tredell 2007, p. 90.
- ^ Eble 1974, pp. 34, 45; Batchelor 2013.
- ^ Menand, Louis (February 27, 2005). “Believer”. The New Yorker. Archived from the original on July 1, 2014. Retrieved March 26, 2023.
- ^ Ebert 2011, p. 304.
- ^ Hogeback 2016; Lacayo & Grossman 2010; Burt 2010.
- ^ Italie 2020.
- ^ Tredell 2007, pp. 89–90.
- ^ Jump up to:a b Donahue 2013b.
- ^ Alter 2018; Williams 2021.
- ^ Alberge, Dalya (February 12, 2022). “The Great Gapsby? How modern editions of classics lost the plot”. The Guardian. Archived from the original on June 12, 2023. Retrieved June 12, 2023.
- ^ Kazin 1951, p. 189; Bewley 1954, pp. 223–224.
- ^ Pearson 1970, p. 638: “[Fitzgerald] was the self-appointed spokesman for the ‘Jazz Age,’ a term he takes credit for coining, and he gave it its arch-high priest and prophet, Jay Gatsby, in his novel The Great Gatsby“.
- ^ Jump up to:a b c Pearson 1970, p. 638.
- ^ Pearson 1970, p. 645.
- ^ Bewley 1954, pp. 235, 238: “For Gatsby, Daisy does not exist in herself. She is the green light that signals him into the heart of his ultimate vision … Thus the American dream, whose superstitious valuation of the future began in the past, gives the green light through which alone the American returns to his traditional roots, paradoxically retreating into the pattern of history while endeavoring to exploit the possibilities of the future”.
- ^ Churchwell 2012.
- ^ Churchwell 2013b; Gillespie 2013; Bechtel 2017, p. 117.
- ^ Gillespie 2013; Bechtel 2017, p. 117; Churchwell 2013b.
- ^ Jump up to:a b c d Gillespie 2013.
- ^ Bechtel 2017, p. 120.
- ^ Bechtel 2017, pp. 117, 128.
- ^ Drudzina 2006, pp. 17–20.
- ^ Conor 2004, p. 209: “More than any other type of the Modern Woman, it was the Flapper who embodied the scandal which attached to women’s new public visibility, from their increasing street presence to their mechanical reproduction as spectacles”.
- ^ Conor 2004, pp. 210, 221.
- ^ Fitzgerald 1945, p. 16, “Echoes of the Jazz Age”: The flappers, “if they get about at all, know the taste of gin or corn at sixteen”.
- ^ Conor 2004, p. 209.
- ^ Jump up to:a b Person 1978, pp. 250–257.
- ^ Jump up to:a b Person 1978, p. 253.
- ^ Person 1978, pp. 250–257; Donahue 2013a.
- ^ Jump up to:a b c Person 1978, p. 250.
- ^ Person 1978, p. 256.
- ^ Bruccoli 2002, p. 156; Milford 1970, p. 80; Turnbull 1962, p. 127.
- ^ Person 1978, pp. 253, 256.
- ^ Slater 1973, p. 55; Pekarofski 2012, p. 52; Michaels 1995, pp. 18, 29; Vogel 2015, p. 43; Berman 1996, p. 33.
- ^ Slater 1973, p. 54; Michaels 1995, p. 29.
- ^ Slater 1973, p. 54; Vogel 2015, p. 36; Pekarofski 2012, p. 52.
- ^ Michaels 1995, p. 29.
- ^ Pekarofski 2012, p. 52; Michaels 1995, pp. 18, 29.
- ^ Berman 1996, p. 33.
- ^ Slater 1973, p. 53: “An obsessive concern with ethnic differences has always been a part of American culture, but in some periods this concern has been more intense and explicit than in others. The 1920s, the time of the reborn Ku Klux Klan, immigration restriction legislation, and the pseudo-scientific racism of Madison Grant and Lothrop Stoddard was one of the periods when concern about ethnicity was most evident on the surface of national life”.
- ^ Vogel 2015, p. 38.
- ^ Jump up to:a b Vogel 2015, p. 45.
- ^ Vogel 2015, p. 40; Slater 1973, p. 54.
- ^ Pekarofski 2012, p. 52.
- ^ Jump up to:a b Slater 1973, p. 56.
- ^ Vogel 2015, p. 41.
- ^ Vogel 2015, pp. 29–30, 33, 38–40, 51: “The Great Gatsby resonates more in the present than it ever did in the Jazz Age”, and “the work speaks in strikingly familiar terms to the issues of our time”, especially since its “themes are inextricably woven into questions of race, ethnicity, gender, and sexuality”.
- ^ Vogel 2015, pp. 38–40.
- ^ Fessenden 2005, p. 28: “Fitzgerald’s career records the ambient, dogging pressure to repel charges of his own homosexuality”.
- ^ Jump up to:a b Bruccoli 2002, p. 284: According to biographer Matthew J. Bruccoli, author Robert McAlmon and other contemporaries in Paris publicly asserted that Fitzgerald was a homosexual, and Hemingway later avoided Fitzgerald due to these rumors.
- ^ Milford 1970, p. 154; Kerr 1996, p. 417.
- ^ Fessenden 2005, p. 28: “Biographers describe Fay as a ‘fin-de-siècle aesthete’ of considerable appeal; ‘a dandy, always heavily perfumed,’ who introduced the teenaged Fitzgerald to Oscar Wilde and good wine”.
- ^ Fessenden 2005, p. 28.
- ^ Bruccoli 2002, p. 275: “If Fay was a homosexual, as has been asserted without proof, Fitzgerald was presumably unaware of it”.
- ^ Fessenden 2005, p. 30.
- ^ Mizener 1965, p. 60: “In February he put on his Show Girl make-up and went to a Psi U dance at the University of Minnesota with his old friend Gus Schurmeier as escort. He spent the evening casually asking for cigarettes in the middle of the dance floor and absent-mindedly drawing a small vanity case from the top of a blue stocking”.
- ^ Jump up to:a b Fessenden 2005, p. 33.
- ^ Milford 1970, p. 183.
- ^ Fitzgerald & Fitzgerald 2002, p. 65.
- ^ Bruccoli 2002, p. 275: “Zelda extended her attack on Fitzgerald’s masculinity by charging that he was involved in a homosexual liaison with Hemingway”.
- ^ Fessenden 2005, pp. 32–33.
- ^ Bruccoli 2002, p. 275.
- ^ Jump up to:a b Kerr 1996, p. 406.
- ^ Turnbull 1962, p. 259.
- ^ Fessenden 2005, p. 31: The novel “includes some queer energies, to be sure—we needn’t revisit the more gossipy strains of Fitzgerald biography to note that it’s Nick who delivers the sensuous goods on Gatsby from beginning to end”.
- ^ Kazin 1951, p. 202.
- ^ Paulson 1978, p. 326.
- ^ Friedrich 1960, p. 394.
- ^ Kerr 1996, p. 406: “It was in the 1970s that readers first began to address seriously the themes of gender and sexuality in The Great Gatsby; a few critics have pointed out the novel’s bizarre homoerotic leitmotif”.
- ^ Vogel 2015, p. 34.
- ^ Kerr 1996, pp. 412, 414.
- ^ Kerr 1996, pp. 409–411; Vogel 2015, p. 34; Lisca 1967, pp. 20–21; Paulson 1978, p. 329; Wasiolek 1992, pp. 20–21.
- ^ Vogel 2015, pp. 31, 51: “Among the most significant contributions of The Great Gatsby to the present is its intersectional exploration of identity…. these themes are inextricably woven into questions of race, ethnicity, gender, and sexuality”.
- ^ Paulson 1978, p. 329: Commenting upon Nick’s sexual confusion, A. B. Paulson remarked in 1978 that “the novel is about identity, about leaving home and venturing into a world of adults, about choosing a profession, about choosing a sexual role to play as well as a partner to love, it is a novel that surely appeals on several deep levels to the problems of adolescent readers”.
- ^ Keeler 2018, pp. 174–188; Marx 1964, pp. 358, 362–364; Little 2015, pp. 3–26.
- ^ Marx 1964, pp. 358–364.
- ^ Marx 1964, p. 358.
- ^ Marx 1964, p. 362.
- ^ Jump up to:a b c Marx 1964, pp. 363–364
- ^ Mizener 1965, p. 190; Marx 1964, p. 363.
- ^ Turnbull 1962, p. 46: “In those days the contrasts between East and West, between city and country, between prep school and high school were more marked than they are now, and correspondingly the nuances of dress and manners were more noticeable”.
- ^ Jump up to:a b c d e Keeler 2018, p. 174.
- ^ Jump up to:a b Krystal 2015.
- ^ Fitzgerald 1991, p. liv.
- ^ Fitzgerald 1991, p. 148.
- ^ Jump up to:a b c Berrin 2013.
- ^ Krystal 2015; Bruccoli 2000, p. 29; Mizener 1965, p. 186.
- ^ Bruccoli 2002, p. 179; Mizener 1965, p. 186
- ^ Bruccoli 2000, p. 29.
- ^ Hindus 1947.
- ^ Hindus 1947; Berrin 2013.
- ^ West & Daniel 2024, pp. xii–xiv.
- ^ West & Daniel 2024, p. xxx.
- ^ West & Daniel 2024, pp. xvi–xviii, xxvii–xxviii.
- ^ West & Daniel 2024, pp. xxviii–xxix.
- ^ West & Daniel 2024, p. xxix.
- ^ Skinner 2006.
- ^ Brantley 2010.
- ^ Stevens 1999.
- ^ Grossberg 2009.
- ^ Kaufman 2011; Aguirre 2011.
- ^ Heckmann, Ann Marie (July 25, 2023). “Jeremy Jordan & Eva Noblezada to Star in Paper Mill Playhouse’s World Premiere of The Great Gatsby, a New Musical”. Paper Mill Playhouse. Archived from the original on July 30, 2023. Retrieved July 30, 2023.
- ^ “Full cast announced for Great Gatsby musical with Jeremy Jordan and Eva Noblezada”. September 6, 2023. Archived from the original on October 27, 2023. Retrieved November 13, 2023.
- ^ “The Great Gatsby’s Jeremy Jordan and Eva Noblezada Tease How the Page-to-Stage Musical Will Come Alive on Broadway”.
- ^ “The Great Gatsby Begins Performances on Broadway March 29”. www.playbill.com. Archived from the original on April 18, 2024. Retrieved April 18, 2024.
- ^ “Gatsby at A.R.T.” americanrepertorytheater.org. Archived from the original on July 30, 2023. Retrieved July 30, 2023.
- ^ Dixon 2003.
- ^ Jump up to:a b Howell 2013; Hischak 2012, pp. 85–86.
- ^ Jump up to:a b Dixon 2003; Hischak 2012, pp. 85–86.
- ^ Giardina 2021.
- ^ Hyatt 2006, pp. 49–50.
- ^ Jump up to:a b Hischak 2012, pp. 85–86.
- ^ Howell 2013.
- ^ Flood, Alison (July 15, 2020). “The Great Gatsby prequel set for release days after copyright expires”. The Guardian. Archived from the original on July 12, 2022. Retrieved July 12, 2022.
- ^ Wick, Jessica (June 6, 2021). “This Retelling Of ‘Gatsby’ Has Demonic Flair To Spare”. NPR. Archived from the original on July 12, 2022. Retrieved July 12, 2022.
- ^ Grossman, Mary Ann (October 30, 2021). “Readers and writers: Poet gives Jay Gatsby a new gay life with Nick Carraway in debut novel”. Twin Cities Pioneer Press. Archived from the original on July 26, 2022. Retrieved July 27, 2022.
- ^ Cerézo, Arvyn (September 16, 2022). “Longlists Announced for 2022 National Book Awards”. Archived from the original on October 5, 2022. Retrieved October 5, 2022.
- ^ Gurdon 2021.
- ^ Roe, Mike. (July 19, 2024). “Godzilla Takes on the Great Gatsby and Sherlock Holmes in ‘Monsterpiece Theatre’ Comic.” The Wrap. Retrieved July 20, 2024.
- ^ Pitts 1986, p. 127.
- ^ White 2007.
- ^ Forrest 2012.
- ^ Benedetti 2010.
- ^ Paskin 2010.
- ^ Bell 2011.
- ^ Crouch 2011.
- ^ “The Great Gatsby for NES“. greatgatsbygame.com. Archived from the original on April 27, 2022. Retrieved April 1, 2022.
- ^ Hoey, Charlie. “Lots of false leads over the past 11 years, but we FINALLY tracked down an actual ROM dump for The Great Gatsby Game. Enjoy”. Twitter. Archived from the original on April 1, 2022. Retrieved April 1, 2022.
- ^ Smith, Peter. “11 years ago today, @flimshaw and I launched our hit Flash game The Great Gatsby for NES. Today we’re launching it again… as an actual 8-bit game. Presenting The Great Gatsby for NES… for NES”. Twitter. Archived from the original on April 1, 2022. Retrieved April 1, 2022.
- ^ Kirk, Morgan & Wickman 2013.
- ^ Sarkar 2013.
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