By Marciano Guerrero
This examine comprises components. First, we'll argue that NYC didn't corrupt the characters provided within the novel. moment, we’ll exhibit the writing strategies that F. Scott Fitzgerald hired to depict his characters and their setting. the nice Gatsby will undergo just because F. Scott Fitzgerald created a literary archetype: Jay Gatsby. whereas many nice writers in achieving transitority status, in simple terms writers who invent archetypes will suffer everlasting status, and during this appreciate Jay Gatsby will sign up for the pantheon of heroes the place we discover: Heathcliff, Tarzan, Holly Golightly, Lolita, Mr. Darcy, Gregor Samsa, and Holden Caulfield—among others.
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Extra info for Essays on The Great Gatsby: Is Nick Carraway Gay? Or, Is Daisy Buchanan Slow?
On the contrary, they were merely casual events in a crowded summer, and, until much later, they absorbed me infinitely less than my personal affairs” (Chapter 3, 60). Indeed they were but mere casual events, yet very much intertwined with his own personal life. Though Nick presents Jay Gatsby’s life as the main thread of the novel, he weaves his own autobiographical strands of data into the fabric of the story. While Meursault—Camus’ absurd-man narrator of The Stranger—chooses a stark, hallucinatory jargon to depict his alienation from the world, Nick Carraway chooses a lyrical and often incantatory language to embellish his own alienation from both males and females, given his lack of sexual identity.
This study contains two parts. First, we will argue that NYC did not corrupt the characters presented in the novel. Second, we’ll show the writing techniques that F. Scott Fitzgerald employed to depict his characters and their environment. Contrary to what many might believe, New York City despite all its sins and flawed institutions doesn’t corrupt people, but the characters in the novel (Southerners and Midwesterners) reached the Big Apple as adults with their values already formed, stained, and doomed.
At one point in the narration, Nick even refers to T. J. Eckleburg’s sign to mention a nose that is not even there: “They [eyes] look out of no face but, instead, from a pair of enormous yellow spectacle which pass over a nonexistent nose” (Chapter 2, 27). However, when describing the shadowy character Meyer Wolfshiem, Nick is quite lavish in his portrayal of Wolfshiem’s nose: “A small flat-nosed Jew raised his large head and regarded me with two fine growths of hair which luxuriated in either nostril” (73).