INTRODUCTION Critics have generally agreed that The Great Gatsby. published in 1925. is the crowning achievement of Fitzgerald's literary career. It evokes not only the ambiance of the jazz-age search for the American dream of wealth and happiness, but also the larger questions of fading traditional values in the face of increasing materialism and cynicism. PLOT AND MAJOR CHARACTERS Fitzgerald frames his plot as a story within a story, as the narrator, Nick Carraway, relates his version of Jay Gatshy's life. Nick, seeking freedom from his constricted Midwestern existence, takes a job in New York City and rents a bungalow in West Egg. Long Island. next door to the lavish mansion of the mysterious Jay Gatsby. Nick's wealthy cousin. Daisy Buchanan, and her husband Tom. invite Nick to dinner with the attractive hut flighty Jordan Baker at their luxurious home on the neighboring island of East Egg. Unsettled by the Buchanans’ seemingly purposeless lives. Nick returns home and notices his neighbor Gatsby staring longingly at a green light across the bay coming from the Buchanans’ property. Tom later persuades Nick to accompany him to a place he calls the Valley of Ashes and introduces him to his blowsy mistress. Myrtle Wilson. Tom. Myrtle, and Nick end up at an apartment in New York. where a wild party ensues, and in a violent outburst, Tom strikes Myrtle and breaks her nose. Later in the month, Gatshy sends Nick an invitation to come to a sumptuous party at his estate, where Nick meets his neighbor for the first time. This is the first of many parties Nick attends at the Gatshy rmansion in the colmpan of many of the rich and famous. When (Gatsbh later takes Nick to New York for lunch, he regales him with tales of his war medals and his Oxford education. The other guest at lunch is the notorious gangster Mover Wolfsheim, who reportedly fixed the World Series in 1918. Nick, befuddled by Gatshy's questionable associations. is also taken aback when Jordan asks him on Gatsby's behalf to invite Daisy to lunch at Nick’ bhungalow. He does so even though le now knows that Daisy and Gatshy were in love prior to her marriage to Tom. The two ill-fated lovers meet, and Gatshv takes Daisy to his mansion and invites her to his next party. Daisy agrees, but when she disapproves of some of Iis guests, Gatsby stops entertaining altogether. He eventually tells Nick of his truly humble Midwest origins, noting that his name is really Gat/, that lie did not graduate from Oxford, and that he has made his fortune in bootlegging and other nefarious ventures. One day Gatsby, the Buchanans, Jordan, and Nick drive to New York. On the way, they stop at the garage of George Wilson, husband of Myrtle, who tries to get money from Tom and announces that he and Myrtle are leaving town. At a hotel in New York, Tom accuses Gatsby of trying to steal his wife, and a fierce argument ensues. Daisy heads home with Gatsby, and shortly thereafter Tom and Jordan stop at Wilson's garage to find that Myrtle has been killed by a hit-and-run driver of a yellow car. Tom blames the death on Gatsby though the real driver at the time was Daisy, whom Gatsby seeks to protect. George Wilson, thinking Gatsby was the driver, goes to Gatsby's estate, shoots him, and then kills himself. Only Gatsby's father, who thinks his son was a great man, attends his funeral. Nick later learns that Tom had a part in Gatsby's death, having convinced Wilson that Myrtle and Gatsby were lovers. Disillusioned with the Buchanans and their ilk, Nick decides to return to the Midwest. MAJOR THEMES Echoes of the American Dream pervade the novel, which contrasts the supposed innocence and moral sense of the "Western" characters with the sophistication and materialism of the "Eastern" characters. Gatsby's lavish existence in the nouveau riche Long Island community of West Egg, moreover, cannot ever compensate for his lack of the more pedigreed wealth of East Egg. He remains an "innocent" in his single-minded pursuit of Daisy despite his association with underworld characters and ill-begotten money. The Valley of Ashes and the sign with the blank eyes of Dr. Eckleburg indicate a moral wasteland and an absent God-as well as the emptiness of the new commercial culture. Gatsby's pursuit of his dream takes on a mythic quality, mirroring the dream which led Americans to conquer the frontier. Gatsby's "frontier," however, is an ill-advised pursuit of a vacuous young woman not worthy of his love. Initially, Nick, the Midwestern moral arbiter, disdains Gatsby's values, but he eventually comes to see something heroic in Gatsby's vision, which reflects America's own loss of innocence in the face of the crass materialism of the 1920s. CRITICAL RECEPTION Early reviews of Gatsby were mixed, and relatively few copies actually had sold before Fitzgerald's death in 1940. Many critics, most notably Ernest Hemingway, were put off by the fact that Fitzgerald had been known as a writer of stories for popular magazines like The Saturday Evening Post. It was not until a revival of Fitzgerald's works in the 1950s that the novel began to attract serious criticism. For the five ensuing decades, Gatsby has continued to attract critical attention and reappraisal. Critics have praised Fitzgerald's tightly woven narrative, and many have focused on the position of the narrator, Nick Carraway, and the subjective limitations of his observations of Gatsby's saga. Although Gatsby was for many years called "a novel of the Jazz Age" (a term which Fitzgerald coined), critics have agreed that it has a much more universal meaning, not the least of which is a trenchant critique of materialist American society much like T. S. Eliot's The Waste Land. The appearance of at least four biographies in the 1990s and early 2000s is an indication that interest in Fitzgerald's novels remains unabated. Earlier critics of Gatsby emphasized biographical and cultural influences on the novel, and formalist approaches dealt with the novel's structure, point of view, symbols, use of language, and the like. By the 1980s through the early 2000s, a variety of approaches, both heavily theoretical and non-theoretical, have been evident in critics’ commentaries. While many have continued to explore biographical influences or comparisons with other authors, or to use New Critical analyses, others have increasingly employed such techniques as deconstruction, feminist criticism, and discourse analysis to uncover hidden meanings in the text.