The Great Gatsby Nick Carraway Quotes

Nick Carraway

Quote 61

At the enchanted metropolitan twilight I felt a haunting loneliness sometimes, and felt it in others – poor young clerks who loitered in front of windows waiting until it was time for a solitary restaurant dinner – young clerks in the dusk, wasting the most poignant moments of night and life. (3.156)

You know all those clichés about big cities being lonely places? Fitzgerald thought so, too. He sees New York as being like one of Gatsby's parties, only less glamorous: full of people, and full of loneliness.

"Your place looks like the World's Fair," I said.

"Does it?" He turned his eyes toward it absently. "I have been glancing into some of the rooms. Let's go to Coney Island, old sport. In my car."

"It's too late."

"Well, suppose we take a plunge in the swimming-pool? I haven't made use of it all summer."

"I've got to go to bed."

"All right." (5.3-8)

Gatsby has a house full of people, and all he wants is one friend to go swimming with him. Talk about lonely.

Nick Carraway

Quote 63

Thirty – the promise of a decade of loneliness, a thinning list of single men to know, a thinning brief-case of enthusiasm, thinning hair. But there was Jordan beside me, who, unlike Daisy, was too wise ever to carry well-forgotten dreams from age to age. As we passed over the dark bridge her wan face fell lazily against my coat's shoulder and the formidable stroke of thirty died away with the reassuring pressure of her hand. (7.308)

Having seen the wrong end of thirty, Shmoop can assure Nick that it really isn't that bad. But at least he has someone to keep him company, right? Well, yeah—until things start going south and she's out. (But Nick is totally right about all the thirty-something men being married. Just saying.)

Nick Carraway

Quote 64

He stayed there a week, walking the streets where their footsteps had clicked together through the November night and revisiting the out-of-the-way places to which they had driven in her white car. (8.28)

Once Daisy leaves him, Gatsby walks the streets alone. Probably in the rain. And in rags. Sorry, dude: we know how this scene ends.

Nick Carraway

Quote 65

Next morning I sent the butler to New York with a letter to Wolfsheim, which asked for information and urged him to come out on the next train. That request seemed superfluous when I wrote it. I was sure he'd start when he saw the newspapers, just as I was sure a there'd be a wire from Daisy before noon—but neither a wire nor Mr. Wolfsheim arrived; no one arrived except more police and photographers and newspaper men. When the butler brought back Wolfsheim's answer I began to have a feeling of defiance, of scornful solidarity between Gatsby and me against them all. (9.20)

After Gatsby's death, Nick realizes just how alone Gatsby is. What's weird is he begins to identify with Gatsby, as though they're suddenly BFFs. We bet Gatsby would have appreciated that; too bad it's too late now.

Nick Carraway

Quote 66

After a little while Mr. Gatz opened the door and came out, his mouth ajar, his face flushed slightly, his eyes leaking isolated and unpunctual tears. He had reached an age where death no longer has the quality of ghastly surprise, and when he looked around him now for the first time and saw the height and splendor of the hall and the great rooms opening out from it into other rooms, his grief began to be mixed with an awed pride. (9.40)

How weird is this description of Gatsby's dad? He's "leaking isolated" tears, as if he can't quite process that his son is dead—or that this mansion belonged to his kid.

Nick Carraway

Quote 67

It was on the two little seats facing each other that are always the last ones left on the train. I was going up to New York to see my sister and spend the night. He had on a dress suit and patent leather shoes, and I couldn't keep my eyes off him, but every time he looked at me I had to pretend to be looking at the advertisement over his head. When we came into the station he was next to me, and his white shirt-front pressed against my arm, and so I told him I'd have to call a policeman, but he knew I lied. I was so excited that when I got into a taxi with him I didn't hardly know I wasn't getting into a subway train. All I kept thinking about, over and over, was 'You can't live forever; you can't live forever.' (2.121)

YOLO: just as dumb in the 1920s as it is now.

Nick Carraway

Quote 68

I stared at (Wilson) and then at Tom, who had made a parallel discovery less than an hour before—and it occurred to me that there was no difference between men, in intelligence or race, so profound as the difference between the sick and the well. (7.158)

Nick seems to be making the connection here between Tom and George realizing that their wives are cheating and discovering that they have some sort of terminal disease. Is that because some cherished idea is dying? Or does he suspect that this is all going to end badly?

Nick Carraway

Quote 69

So we drove on toward death through the cooling twilight. (7.306-309)

Ouch. We just got hit over the head with a serious case of foreshadowing.

Nick Carraway

Quote 70

Michaelis and this man reached her first, but when they had torn open her shirtwaist, still damp with perspiration, they saw that her left breast was swinging loose like a flap, and there was no need to listen for the heart beneath. The mouth was wide open and ripped at the corners, as though she had choked a little in giving up the tremendous vitality she had stored for so long. (7.313)

When Nick first meets Myrtle, he notices how "alive" she seems—which we're pretty sure is code for "sexy." Maybe that's why she's so disgusting in death, like, the more you live the worse you die? We're not sure. But we do know that this is pretty gruesome.

Nick Carraway

Quote 71

It was after we started with Gatsby toward the house that the gardener saw Wilson's body a little way off in the grass, and the holocaust was complete. (8.112-114)

Notice that Nick calls this a "holocaust." We're two decades before the World War II holocaust, so that's not a reference point here, but the word still means "mass destruction." The thing is, three bodies is tragic, but it's not exactly mass destruction. We think that something metaphoric is being destroyed here: a way of life? Nick's innocence? The American Dream?

Nick Carraway

Quote 72

Most of those reports were a nightmare – grotesque, circumstantial, eager, and untrue. When Michaelis's testimony at the inquest brought to light Wilson's suspicions of his wife I thought the whole tale would shortly be served up in racy pasquinade – but Catherine, who might have said anything, didn't say a word. She showed a surprising amount of character about it too – looked at the coroner with determined eyes under that corrected brow of hers, and swore that her sister had never seen Gatsby, that her sister was completely happy with her husband, that her sister had been into no mischief whatever. She convinced herself of it, and cried into her handkerchief, as if the very suggestion was more than she could endure. So Wilson was reduced to a man "deranged by grief," in order that the case might remain in its simplest form. And it rested there. (9.2)

The whole sordid story almost blows up in everyone's face, but Myrtle's sister saves it. George Wilson gets a kind of dignity in death that he didn't have in life: instead of a cuckold, he's a grieving husband.

Nick Carraway

Quote 73

Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter – to-morrow we will run faster, stretch out our arms farther… And one fine morning –

So we beat on, boats against the current, borne back ceaselessly into the past. (9.152-153)

The problem with chasing the future is that you just end up chasing your own death. Andrew Marvell even wrote a poem about it.