The Great Gatsby

Set on the prosperous Long Island of 1922, The Great Gatsby provides a critical social history of Prohibition-era America during the Jazz Age.[lower-alpha 2] That period—known for its jazz music,[15] economic prosperity,[16] flapper culture,[17] libertine mores,[18] rebellious youth,[19] and ubiquitous speakeasies—is fully rendered in Fitzgerald's fictional narrative. Fitzgerald uses many of these 1920s societal developments to tell his story, from simple details such as petting in automobiles[20] to broader themes such as Fitzgerald's discreet allusions to bootlegging as the source of Gatsby's fortune.[21]

Fitzgerald educates his readers about the hedonistic[22] society of the Jazz Age by placing a relatable plotline within the historical context of "the most raucous, gaudy era in U.S. history,"[14] which "raced along under its own power, served by great filling stations full of money."[16][23] In Fitzgerald's eyes, the 1920s era represented a morally permissive time when Americans of all ages became disillusioned with prevailing social norms and were monomaniacally obsessed with self-gratification: "[The Jazz Age represented] a whole race going hedonistic, deciding on pleasure."[22] Hence, The Great Gatsby represents Fitzgerald's attempt to communicate his ambivalent feelings regarding the Jazz Age, an era whose themes he would later regard as reflective of events in his own life.[24]

F. Scott Fitzgerald and Zelda Sayre

Various events in Fitzgerald's youth are reflected throughout The Great Gatsby.[25] Fitzgerald was a young Midwesterner from Minnesota, and, like the novel's narrator who went to Yale, he was educated at an Ivy League school, Princeton.[25] While at Princeton, the 19-year-old Fitzgerald met Ginevra King, a 16-year-old socialite with whom he fell in love.[26] However, Ginevra's family discouraged Fitzgerald's pursuit of their daughter due to his lower-class status, and her father purportedly told the young Fitzgerald that "poor boys shouldn't think of marrying rich girls."[27]

Rejected as a suitor due to his lack of financial prospects, Fitzgerald joined the United States Army and was commissioned as a second lieutenant.[25] He was stationed at Camp Sheridan in Montgomery, Alabama where he met Zelda Sayre, a vivacious 17-year-old Southern belle. Zelda agreed to marry him but her parents ended their engagement until he could prove a financial success.[25] Thus Fitzgerald is similar to Jay Gatsby in that he fell in love while a military officer stationed far from home and then sought success to prove himself to the woman he loved.[25]

After his success as a novelist and as a short story writer, Fitzgerald married Zelda and moved to New York. He found his new affluent lifestyle in the exclusive Long Island social milieu to be simultaneously both seductive and repulsive.[25] Fitzgerald—like Gatsby—had always exalted the rich[25] and was driven by his love for a woman who symbolized everything he desired, even as he was led towards a lifestyle which he loathed.[25]

George Wilson and his wife Myrtle live in the "valley of ashes," a refuse dump (shown in the above photograph) historically located in New York City during the 1920s. Today, the area is Flushing Meadows–Corona Park.

In Spring 1922, Nick Carraway—a Yale alumnus from the Midwest and a veteran of the Great War—journeys east to New York City to obtain employment as a bond salesman. He rents a bungalow in the Long Island village of West Egg, next to a luxurious estate inhabited by Jay Gatsby, an enigmatic multi-millionaire who hosts dazzling soirées yet does not partake in them.

One evening, Nick dines with his distant relative, Daisy Buchanan, in the fashionable town of East Egg. Daisy is married to Tom Buchanan, formerly a Yale football star whom Nick knew during his college days. The couple have recently relocated from Chicago to a colonial mansion directly across the bay from Gatsby's estate. At their mansion, Nick encounters Jordan Baker, an insolent flapper and golf champion who is a childhood friend of Daisy's. Jordan confides to Nick that Tom keeps a mistress, Myrtle Wilson, who brazenly telephones him at his home and who lives in the "valley of ashes," a sprawling refuse dump.[28] That evening, Nick sees Gatsby standing alone on his lawn, staring at a green light across the bay.

Days later, Nick reluctantly accompanies a drunken and agitated Tom to New York City by train. En route, they stop at a garage inhabited by mechanic George Wilson and his wife Myrtle.[29] Myrtle joins them, and the trio proceed to a small New York apartment that Tom has rented for trysts with her. Guests arrive, and a party ensues which ends with Tom slapping Myrtle and breaking her nose after she mentions Daisy.

One morning, Nick receives a formal invitation to a party at Gatsby's mansion. Once there, Nick is embarrassed that he recognizes no one, and begins drinking heavily until he encounters Jordan. While chatting with her, he is approached by a man who introduces himself as Jay Gatsby and insists that both he and Nick served in the 3rd Infantry Division during the war. Gatsby attempts to ingratiate himself to Nick and, when Nick leaves the party, he notices Gatsby watching him.

In late July, Nick and Gatsby have lunch at a speakeasy. Gatsby tries to impress Nick with tales of his war heroism and his Oxford days. Afterwards, Nick meets Jordan at the Plaza Hotel. She reveals that Gatsby and Daisy met around 1917 when Gatsby was an officer in the American Expeditionary Forces. They fell in love, but when Gatsby was deployed overseas, Daisy reluctantly married Tom. Gatsby hopes that his newfound wealth and dazzling parties will make Daisy reconsider. Gatsby uses Nick to stage a reunion with Daisy, and the two embark upon a sexual affair.

The twenty-story Plaza Hotel in the 1920s—a château-like edifice with an architectural style inspired by the French Renaissance.

In September, Tom discovers the affair when Daisy carelessly addresses Gatsby with unabashed intimacy in front of him. Later, at a Plaza Hotel suite, Gatsby and Tom argue about the affair. Gatsby insists that Daisy declare that she never loved Tom. Daisy claims she loves Tom and Gatsby, upsetting both. Tom reveals that Gatsby is a swindler whose money comes from bootlegging alcohol. Upon hearing this, Daisy chooses to stay with Tom. Tom scornfully tells Gatsby to drive her home, knowing that Daisy will never leave him.

While returning to East Egg, Gatsby and Daisy drive by Wilson's garage and their car accidentally strikes Tom's mistress, Myrtle, killing her instantly. Gatsby reveals to Nick that it was Daisy who was driving the car, but that he intends to take blame for the accident to protect her. Nick urges Gatsby to flee to avoid prosecution but he refuses. After Tom tells George that Gatsby owns the car that struck Myrtle, a distraught George assumes the owner of the vehicle must be Myrtle's paramour. George fatally shoots Gatsby in his mansion's swimming pool and then commits suicide.

Several days after Gatsby's murder, his father Henry Gatz arrives for the sparsely-attended funeral. After Gatsby's death, Nick comes to hate New York and decides that Gatsby, Daisy, Tom, and he were all Westerners unsuited to Eastern life. Nick encounters Tom and refuses to shake his hand. Tom admits that he was the one who told George that Gatsby owned the vehicle which killed Myrtle. Before returning to the Midwest, Nick returns to Gatsby's mansion one last time and stares across the bay at the green light emanating from the end of Daisy's dock.

Ginevra King (left)—whom Fitzgerald romantically pursued—inspired the character of Daisy Buchanan. Edith Cummings (right) was an amateur golfer who inspired the character of Jordan Baker. Both were fêted in the press as among Chicago's "four most desirable" debutantes.

• Nick Carraway—a Yale University graduate from the Midwest, a World War I veteran, and, at the start of the plot, a newly arrived resident of West Egg, age 29 (later 30). He also serves as the first-person narrator of the novel. He is Gatsby's next-door neighbor and a bond salesman. He is easy-going, occasionally sarcastic, and somewhat optimistic, although this latter quality fades as the novel progresses. He is more grounded and more practical than the other characters, and is always in awe of their lifestyles and morals.[31]
• Jay Gatsby (originally James "Jimmy" Gatz)—a young, mysterious millionaire with shady business connections (later revealed to be a bootlegger), originally from North Dakota. He is obsessed with Daisy Buchanan, a beautiful debutante whom he met when he was a young military officer stationed at the Army's Camp Taylor in Louisville, Kentucky, during World War I. Gatsby is also said to have briefly studied at Trinity College, Oxford in England after the end of the war.[32] According to Fitzgerald's wife Zelda, the character was based on the bootlegger and former World War I officer, Max Gerlach.[33]
• Daisy Buchanan—an attractive, though shallow and self-absorbed, young debutante and socialite from Louisville, Kentucky, identified as a flapper.[34] She is Nick's second cousin once removed, and the wife of Tom Buchanan. Before she married Tom, Daisy had a romantic relationship with Gatsby. Her choice between Gatsby and Tom is one of the central conflicts in the novel. The character of Daisy is believed to have been inspired by Fitzgerald's youthful romances with Ginevra King.[35]
• Thomas "Tom" Buchanan—a millionaire who lives in East Egg, and Daisy's husband. Tom is an imposing man of muscular build with a "husky tenor" voice and arrogant demeanor. He was a football star at Yale University. Buchanan has parallels with William Mitchell, the Chicagoan who married Ginevra King.[36] Buchanan and Mitchell were both Chicagoans with an interest in polo. Like Ginevra's father, whom Fitzgerald resented, Buchanan attended Yale and is a white supremacist.[37][38]
• Jordan Baker—an amateur golfer and Daisy Buchanan's long-time friend with a sarcastic streak and an aloof attitude. She is Nick Carraway's girlfriend for most of the novel, though they grow apart towards the end. She has a slightly shady reputation because of rumors that she had cheated in a tournament, which harmed her reputation socially and as a golfer. Fitzgerald told Maxwell Perkins that Jordan was based on the golfer Edith Cummings, a friend of Ginevra King, though Cummings was never suspected of cheating.[39] Her name is a play on the two popular automobile brands, the Jordan Motor Car Company and the Baker Motor Vehicle, both of Cleveland, Ohio,[40] alluding to Jordan's "fast" reputation and the new freedom presented to Americans, especially women, in the 1920s.[41][42][43]
• George B. Wilson—a mechanic and owner of a garage. He is disliked by both his wife, Myrtle Wilson, and Tom Buchanan, who describes him as "so dumb he doesn't know he's alive." At the end of the novel, he kills Gatsby, wrongly believing that he had been driving the car that killed Myrtle, and then kills himself.
• Myrtle Wilson—George's wife, and Tom Buchanan's mistress. Myrtle, who possesses a fierce vitality, is desperate to find refuge from her disappointing marriage. She is accidentally killed by Gatsby's car, as she thinks it is Tom still driving and runs after it (driven by Daisy, though Gatsby takes the blame for the accident).
• Meyer Wolfsheim[lower-alpha 3]—a Jewish friend and mentor of Gatsby's, described as a gambler who fixed the 1919 World Series. Wolfsheim appears only twice in the novel, the second time refusing to attend Gatsby's funeral. He is a clear allusion to Arnold Rothstein,[46] a New York crime kingpin who was notoriously blamed for the Black Sox Scandal that tainted the 1919 World Series.[47]

The now-demolished Beacon Towers partly served as an inspiration for Gatsby's home.

Oheka Castle was another North Shore inspiration for the novel's setting.

Fitzgerald began planning his third novel in June 1922,[21] but it was interrupted by production of his play, The Vegetable, in the summer and fall.[48] The play failed miserably, and Fitzgerald worked that winter on magazine stories struggling to pay his debt caused by the production.[49][50] The stories were, in his words, "all trash and it nearly broke my heart,"[50] although included among those stories was "Winter Dreams," which Fitzgerald later described as "a sort of first draft of the Gatsby idea."[51]

After the birth of their only child, Frances Scott "Scottie" Fitzgerald, the Fitzgeralds moved in October 1922 to Great Neck, New York, on Long Island. The town was used as the scene of The Great Gatsby.[52] 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.[21] These figures were all considered to be "new money," unlike those who came from Manhasset Neck or Cow Neck Peninsula—places that were home to many of New York's wealthiest established families, and which sat across the bay from Great Neck.

This real-life juxtaposition gave Fitzgerald his idea for "West Egg" and "East Egg." In this novel, Great Neck (Kings Point) became the "new money" peninsula of West Egg and Port Washington (Sands Point) became the "old money" East Egg.[53] Several mansions in the area served as inspiration for Gatsby's home, such as Oheka Castle[54] and Beacon Towers, since demolished.[55] (Another possible inspiration was Land's End, a notable Gold Coast Mansion where Fitzgerald may have attended a party.[56])

While the Fitzgeralds were living in New York, the Hall-Mills murder case was sensationalized in the daily newspapers over the course of many months, and the highly publicized case likely influenced the plot of Fitzgerald's novel.[57][58] The case involved the double-murder of a man and his lover which occurred on September 14, 1922, mere weeks before Fitzgerald and his wife arrived in Great Neck. Scholars have speculated that Fitzgerald based certain aspects of the ending of The Great Gatsby as well as various characterizations on this factual incident.[59]

By mid-1923, Fitzgerald had written 18,000 words for his novel,[60] but discarded most of his new story as a false start. Some of it, however, resurfaced in the 1924 short story "Absolution."[21][61][62] Work on The Great Gatsby began in earnest in April 1924. Fitzgerald wrote in his ledger, "Out of woods at last and starting novel."[50] He decided to make a departure from the writing process of his previous novels and told Perkins that the novel was to be a "consciously artistic achievement"[63] and a "purely creative work—not trashy imaginings as in my stories but the sustained imagination of a sincere and yet radiant world."[64][65] Soon after this burst of inspiration, work slowed while the Fitzgeralds made a move to the French Riviera, where a serious crisis[lower-alpha 4] in their relationship soon developed.[50]

By August, however, Fitzgerald was hard at work and completed what he believed to be his final manuscript in October, sending the book to his editor, Maxwell Perkins, and agent, Harold Ober, on October 30.[50] The Fitzgeralds then moved to Rome for the winter.[66] Fitzgerald made revisions through the winter after Perkins informed him in a November letter that the character of Gatsby was "somewhat vague" and Gatsby's wealth and business, respectively, needed "the suggestion of an explanation" and should be "adumbrated."[67] Fitzgerald thanked Perkins for his detailed criticisms and stated, "With the aid you've given me I can make Gatsby perfect."[68]

Content after a few rounds of revision, Fitzgerald returned the final batch of revised galleys in the middle of February 1925.[69] Fitzgerald's revisions included an extensive rewriting of Chapter VI and VIII.[50] Despite this, he refused an offer of $10,000 for the serial rights in order not to delay the book's publication.[50] He had received a $3,939 advance in 1923[70] and $1,981.25 upon publication.[71]

Unlike Gatsby and Tom Buchanan, I had no girl whose disembodied face floated along the dark cornices and blinding signs...[72]

Early drafts of the book cover made by illustrator Francis Cugat.

The cover of the first printing of The Great Gatsby is among the most celebrated pieces of art in American literature.[72] It depicts disembodied eyes and a mouth over a blue skyline, with images of naked women reflected in the irises. A little-known artist named Francis Cugat was commissioned to illustrate the book while Fitzgerald was in the midst of writing it.[72]

The cover was completed before the novel, and Fitzgerald was so enamored with it that he told his publisher he had "written it into" the novel.[73] Fitzgerald's remarks about incorporating the painting into the novel led to the interpretation that the eyes are reminiscent of those of fictional optometrist Dr. T. J. Eckleburg,[74] depicted on a faded commercial billboard near George Wilson's auto repair shop, which Fitzgerald described as:

"blue and gigantic—their retinas[lower-alpha 5] are one yard high. They look out of no face, but instead, from a pair of enormous yellow spectacles which pass over a non-existent nose."

Although this passage has some resemblance to the painting, a closer explanation can be found in the description of Daisy Buchanan as the "girl whose disembodied face floated along the dark cornices and blinding signs."[72] Years later, Ernest Hemingway wrote in A Moveable Feast that when Fitzgerald lent him a copy of The Great Gatsby to read, he immediately disliked the cover, but "Scott 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."[75]

Fitzgerald's editor, Maxwell Perkins, convinced the author to abandon his original title of Trimalchio in West Egg in favor of The Great Gatsby.

Fitzgerald had difficulty choosing a title for his novel and entertained many choices before reluctantly choosing The Great Gatsby,[76] a title inspired by Alain-Fournier's Le Grand Meaulnes.[77] Previously he had shifted between Gatsby, Among Ash-Heaps and Millionaires, Trimalchio,[5] Trimalchio in West Egg,[78] On the Road to West Egg,[79] Under the Red, White, and Blue,[5] The Gold-Hatted Gatsby,[5][79] and The High-Bouncing Lover.[5][79] The titles The Gold-Hatted Gatsby and The High-Bouncing Lover came from Fitzgerald's epigraph for the novel, one which he wrote himself under the pen name of Thomas Parke D'Invilliers.[80] He initially preferred titles referencing Trimalchio, the crude parvenu in Petronius's Satyricon, and even refers to Gatsby as Trimalchio once in the novel:

"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."[81]

Unlike Gatsby's spectacular parties, Trimalchio participated in the audacious and libidinous orgies he hosted but, according to Tony Tanner's introduction to the Penguin edition, there are subtle similarities between the two.[82]

In November 1924, Fitzgerald wrote to Perkins that "I have now decided to stick to the title I put on the book ... Trimalchio in West Egg,"[83] but was eventually persuaded that the reference was too obscure and that people would not be able to pronounce it.[84] His wife, Zelda, and Perkins both expressed their preference for The Great Gatsby and the next month Fitzgerald agreed.[85] A month before publication, after a final review of the proofs, he asked if it would be possible to re-title it Trimalchio or Gold-Hatted Gatsby but Perkins advised against it. On March 19, 1925,[86] Fitzgerald expressed intense enthusiasm for the title Under the Red, White and Blue, but it was at that stage too late to change.[87][88] The Great Gatsby was published on April 10, 1925.[89] Fitzgerald remarked that "the title is only fair, rather bad than good."[90]

Early drafts of the novel have been published under the title Trimalchio: An Early Version of The Great Gatsby.[91][92] A notable difference between the Trimalchio draft and The Great Gatsby is a less complete failure of Gatsby's dream in Trimalchio. Another difference is that the argument between Tom Buchanan and Gatsby is more even,[93] although Daisy still returns to Tom.

The Great Gatsby was published by Charles Scribner's Sons on April 10, 1925. Fitzgerald called Perkins on the day of publication to monitor reviews: "Any news?"[50] "Sales situation doubtful," read a wire from Perkins on April 20, "[but] excellent reviews." Fitzgerald responded on April 24, saying the cable "depressed" him, closing the letter with "Yours in great depression."[7] Fitzgerald had hoped the novel would be a great commercial success, perhaps selling as many as 75,000 copies.[7] By October, when the original sale had run its course, the book had sold fewer than 20,000 copies.[6][7] Despite this, Scribner's continually kept the book in print; they carried the original edition on their trade list until 1946, by which time Gatsby was in print in three other forms and the original edition was no longer needed.[50] Fitzgerald received letters of praise from contemporaries T. S. Eliot, Edith Wharton, and Willa Cather regarding the novel; however, this was private opinion, and Fitzgerald feverishly sought the public recognition of reviewers and readers.[50]

Critic H.L. Mencken dismissed the novel upon its publication as lacking in substance, although he praised its ending.

The Great Gatsby received mixed reviews from literary critics of the day. Generally the most effusive of the positive reviews was Edwin Clark of The New York Times, who felt the novel was "A curious book, a mystical, glamourous story of today."[94] Similarly, Lillian C. Ford of the Los Angeles Times wrote, "[the novel] leaves the reader in a mood of chastened wonder," calling the book "a revelation of life" and "a work of art."[95] The New York Post called the book "fascinating ... His style fairly scintillates, and with a genuine brilliance; he writes surely and soundly."[96] The New York Herald Tribune was less impressed, referring to The Great Gatsby as "purely ephemeral phenomenon, but it contains some of the nicest little touches of contemporary observation you could imagine—so light, so delicate, so sharp ... a literary lemon meringue."[97] In The Chicago Daily Tribune, H. L. Mencken called the book "in form no more than a glorified anecdote, and not too probable at that," while praising the book's "charm and beauty of the writing" and the "careful and brilliant finish."[98]

Several writers felt that the novel left much to be desired following Fitzgerald's previous works and promptly criticized him. Harvey Eagleton of The Dallas Morning News believed the novel signaled the end of Fitzgerald's success: "One finishes Great Gatsby with a feeling of regret, not for the fate of the people in the book, but for Mr. Fitzgerald."[100] John McClure of The Times-Picayune said that the book was unconvincing, writing, "Even in conception and construction, The Great Gatsby seems a little raw."[101] Ralph Coghlan of the St. Louis Post-Dispatch felt the book lacked what made Fitzgerald's earlier novels endearing and called the book "a minor performance ... At the moment, its author seems a bit bored and tired and cynical."[102] Ruth Snyder of New York Evening World called the book's style "painfully forced," noting that the editors of the paper were "quite convinced after reading The Great Gatsby that Mr. Fitzgerald is not one of the great American writers of to-day."[103] The reviews struck Fitzgerald as completely missing the point: "All the reviews, even the most enthusiastic, not one had the slightest idea what the book was about."[61]

Fitzgerald's goal was to produce a literary work which would truly prove himself as a writer,[104] and Gatsby did not have the commercial success of his two previous novels, This Side of Paradise and The Beautiful and Damned. Although the novel went through two initial printings, some of these copies remained unsold years later.[105] Fitzgerald himself blamed poor sales on the fact that women tended to be the main audience for novels during this time, and Gatsby did not contain an admirable female character.[105] According to his own ledger, now made available online by University of South Carolina's Thomas Cooper library, he earned only $2,000 from the book.[4][70] Although 1926 brought Owen Davis' stage adaption and the Paramount-issued silent film version, both of which brought in money for the author, Fitzgerald still felt the novel fell short of the recognition he hoped for and, most importantly, would not propel him to becoming a serious novelist in the public eye.[50] For several years afterward, the general public believed The Great Gatsby to be nothing more than a nostalgic period piece.[50] By the time Fitzgerald died in 1940, the novel had fallen into near obscurity.[106]

Fitzgerald's friend Edmund Wilson helped revive the author's posthumous reputation.

In 1940, Fitzgerald suffered a third and fatal heart attack, and died believing his work forgotten.[107] His obituary in The New York Times mentioned Gatsby as Fitzgerald "at his best."[108] A strong appreciation for the book gradually developed in underground circles. Future writers Edward Newhouse and Budd Schulberg were deeply affected by it, and author John O'Hara acknowledged its influence.[109] The republication of Gatsby in Edmund Wilson's edition of The Last Tycoon in 1941 produced an outburst of comment, with the general consensus expressing the sentiment that the book was an enduring work of fiction.[50]

In 1942, a group of publishing executives created the Council on Books in Wartime. The Council's purpose was to distribute paperback books to soldiers fighting in the Second World War. The Great Gatsby was one of these books. The books proved to be "as popular as pin-up girls" among the soldiers, according to the Saturday Evening Post's contemporary report.[110] 155,000 copies of Gatsby were distributed to soldiers overseas.[111]

By 1944, full-length articles on Fitzgerald's works were being published, and the following year, "the opinion that Gatsby was merely a period piece had almost entirely disappeared."[50] This revival was paved by interest shown by literary critic Edmund Wilson, who was Fitzgerald's friend.[112] In 1951, Arthur Mizener published The Far Side of Paradise, a biography of Fitzgerald.[113] He emphasized The Great Gatsby's positive reception by literary critics, which may have influenced public opinion and renewed interest in it.[114]

By 1960, the book was steadily selling 50,000 copies per year, and renewed interest led The New York Times editorialist Mizener to proclaim the novel "a classic of twentieth-century American fiction."[50] The Great Gatsby has sold over 25 million copies worldwide as of 2013, annually sells an additional 500,000 copies, and is Scribner's most popular title; in 2013, the e-book alone sold 185,000 copies.[8]

• Le Monde's 100 Books of the Century

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• The Great Gatsby at Faded Page (Canada)
• Fitzgerald, F. Scott. The Great Gatsby (plain text ed.). Project Gutenberg Australia.
• "In Gatsby's Tracks – Locating the Valley of Ashes". litkicks.com.
• The Great Gatsby Play – Authorized and Granted Exclusive Rights by the Fitzgerald Estate
• Conversations from Penn State: Writers of the Lost Generation with Linda Patterson Miller discussing F. Scott Fitzgerald and his relationships with other writers of the "Lost Generation"
• Oloizia, Jeff; Dhanraj, Emanuel (9 April 2013). "A Book by Its Covers" (interactive photo gallery). T: The New York Times Style Magazine.
• An Index to The Great Gatsby