Quote 1
I am still a little afraid of missing something if I forget that, as my father snobbishly suggested, and I snobbishly repeat, a sense of the fundamental decencies is parceled out unequally at birth. (1.3)
Here, Nick says that money isn't the only thing that some people are born to. Some people are naturally just nicer and more honest: they have more "sense of the fundamental decencies." But does Nick believe that poor people can be born with these fundamental decencies, too, or do you have to be rich to have natural class?
Quote 2
When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction—Gatsby, who represented everything for which I have an unaffected scorn. (1.4)
Gatsby may be low-class, but Nick still manages to see something good in him, anyway. Maybe he has the "natural decencies" that other members of high society don't. (Except, we think this might be a little like the, "but I have a lot of ______ friends" excuse to make someone not sound racist or xenophobic.)
Quote 3
I lived at West Egg, the – well, the least fashionable of the two, though this is a most superficial tag to express the bizarre and not a little sinister contrast between them. My house was at the very tip of the egg, only fifty yards from the Sound, and squeezed between two huge places that rented for twelve or fifteen thousand a season. The one on my right was a colossal affair by any standard … My own house was an eyesore, but it was a small eyesore, and it had been overlooked, so I had a view of the water, a partial view of my neighbor's lawn, and the consoling proximity of millionaires—all for eighty dollars a month. (1.14)
It may be a small house, but at least Nick gets to live near millionaires. He's joking, but this is the same logic that makes people buy designer sunglasses: you may not be able to afford the actual clothes, but you still get to have a little reflected glamour. Hey, no judgment here.
Quote 4
There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and he champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his motor-boats slid the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. (3.1)
Okay, so the parties sound fabulous. These people are partying like their football team won the state championship (Go, West Egg Wombats!), they got a huge promotion at work, and somebody just gave them free tickets to front-row seats at the Grammys—all in one. But what we're really into is that Nick actually notices the servants—the people who end up cleaning up the mess. Remember that Nick has to clean up after Daisy and Tom. Maybe he identifies a little bit with the servants.
Quote 5
By the next autumn she was gay again, gay as ever. She had a debut after the Armistice, and in February she was presumably engaged to a man from New Orleans. In June she married Tom Buchanan of Chicago, with more pomp and circumstance than Louisville ever knew before. He came down with a hundred people in four private cars, and hired a whole floor of the Seelbach Hotel, and the day before the wedding he gave her a string of pearls valued at three hundred and fifty thousand dollars. (4.135)
Money might not make you happy, but there's some consolation in a $350K string of pearls. If you have to be depressed, you might as well be depressed on a yacht, right?
Quote 6
We shook hands and I started away. Just before I reached the hedge I remembered something and turned around.
"They're a rotten crowd," I shouted across the lawn. "You're worth the whole damn bunch put together." (8.44-45)
Check out that use of the word "worth." Daisy and Tom may have been born with money, but they're not "worth" anything. But Gatsby—despite his ill-gotten money—is.
Quote 7
I called up Daisy half an hour after we found him, called her instinctively and without hesitation. But she and Tom had gone away early that afternoon, and taken baggage with them.
"Left no address?"
"No."
"Say when they'd be back?"
"No."
"Any idea where they are? How I could reach them?"
"I don't know. Can't say." (9.4-10)
Money can't buy you love, but it can buy you a lot—like the ability to have other people clean up your messes, whether we're talking about toilets or a string of murder/suicides. (Personally, we'd be satisfied with someone coming to clean up our toilets.)
Quote 8
I decided to call to him. Miss Baker had mentioned him at dinner, and that would do for an introduction. But I didn't call to him, for he gave a sudden intimation that he was content to be alone—he stretched out his arms toward the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward—and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock. When I looked once more for Gatsby he had vanished, and I was alone again in the unquiet darkness. (1.152)
Love the one you're with, or love the one you were with? Gatsby reaches forward, but he's really reaching back into the past to a Daisy who doesn't exist anymore. Yeah, this relationship is doomed.
Quote 9
[Jordan's] gray, sun-strained eyes stared straight ahead, but she had deliberately shifted our relations, and for a moment I thought I loved her. But I am slow-thinking and full of interior rules that act as brakes on my desires, and I knew that first I had to get myself definitely out of that tangle back home. I'd been writing letters once a week and signing them: "Love, Nick," and all I could think of was how, when that certain girl played tennis, a faint mustache of perspiration appeared on her upper lip. Nevertheless there was a vague understanding that had to be tactfully broken off before I was free. (3.169)
Nick takes things pretty seriously: he won't even flirt with Jordan before breaking things off with his girl in Chicago. We have serious beef with this, though, because Nick's major problem seems to be that his ladyfriend is, well, real: she sweats. Pro tip: it's a lot better to fall in love with a real woman, sweat and all, than some hard golden statue. Ahem, Jordan.
Quote 10
He hadn't once ceased looking at Daisy, and I think he revalued everything in his house according to the measure of response it drew from her well-loved eyes. Sometimes, too, he stared around at his possessions in a dazed way, as though in her actual and astounding presence none of it was any longer real. Once he nearly toppled down a flight of stairs. (5.112)
We've all been there, right? (Or we can imagine it.) Your crush finally agrees to go out with you, and somehow everything is different. The whole world seems to disappear, and it's just the two of you prancing through fields and ignoring the imminent destruction of the universe.
Quote 11
"It was a strange coincidence," I said.
"But it wasn't a coincidence at all."
"Why not?"
"Gatsby bought that house so that Daisy would be just across the bay." (4.137-140)
This is the rich-people equivalent of getting your contact in the office to rearrange the lockers so you can be near your crush. Not so much coincidence as, yep, creepy and stalker-ish. Or beautifully romantic. Your pick.
Quote 12
The Carraways are something of a clan, and we have a tradition that we're descended from the Dukes of Buccleuch, but the actual founder of my line was my grandfather's brother, who came here in fifty-one, sent a substitute to the Civil War, and started the wholesale hardware business that my father carries on to-day. (1.5)
Nick self-deprecatingly punctures the illusion that his family comes from nobility—but instead, he makes himself into another kind of nobility: a family that actually has achieved the American Dream of wealth and respectability through hard work.
Quote 13
I lived at West Egg, the—well, the less fashionable of the two, though this is a most superficial tag to express the bizarre and not a little sinister contrast between them. [...] Across the courtesy bay the white palaces of fashionable East Egg glittered along the water, and the history of the summer really begins on the evening I drove over there to have dinner with the Tom Buchanans. Daisy was my second cousin once removed, and I'd known Tom in college. And just after the war I spent two days with them in Chicago. (1.14-15)
Nick sees two kinds of America: the hard-working Chicago, part of a "Middle-West" culture; and the "white," fashionable East Egg. Nick may be able to make it in the Middle-West, but he's not cut out for East Coast life.
Quote 14
I decided to call to him. Miss Baker had mentioned him at dinner, and that would do for an introduction. But I didn't call to him, for he gave a sudden intimation that he was content to be alone—he stretched out his arms toward the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward—and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock. When I looked once more for Gatsby he had vanished, and I was alone again in the unquiet darkness. (1.152)
We never see Gatsby's version of America directly; we just get glimpses of it through Nick's narrative and through ephemera like his childhood notebook. But, judging from the way he's staring across the water, Gatsby has a pretty spectacular vision.
Quote 15
He was balancing himself on the dashboard of his car with that resourcefulness of movement that is so peculiarly American—that comes, I suppose, with the absence of lifting work or rigid sitting in youth and, even more, with the formless grace of our nervous, sporadic games. This quality was continually breaking through his punctilious manner in the shape of restlessness.He was never quite still; there was always a tapping foot somewhere or the impatient opening and closing of a hand. (4.12-13)
Gatsby is one version of America—the resourceful, athletic, restless young nation striving to make itself better. The problem is, America as Nick sees it, isn't like that anymore. It's beaten down, like George Wilson; or it's rich and careless, like Tom. Does that make Nick the happy (or unhappy) medium?
Quote 16
One of my most vivid memories is of coming back West from prep school and later from college at Christmas time. Those who went farther than Chicago would gather in the old dim Union Station at six o'clock of a December evening, with a few Chicago friends, already caught up into their own holiday gayeties, to bid them a hasty good-by.
I remember the fur coats of the girls returning from Miss This-or-That's and the chatter of frozen breath and the hands waving overhead as we caught sight of old acquaintances, and the matchings of invitations: "Are you going to the Ordways'? the Herseys'? the Schultzes'?" and the long green tickets clasped tight in our gloved hands. And last the murky yellow cars of the Chicago, Milwaukee & St. Paul railroad looking cheerful as Christmas itself on the tracks beside the gate. (9.120)
Nick may be from Chicago, but it sounds like all the rich people send their kids off East to prep school. What is it about the East in comparison to the West? Are the two regions really that different?
Quote 17
That's my Middle West – not the wheat or the prairies or the lost Swede towns, but the thrilling returning trains of my youth, and the street lamps and sleigh bells in the frosty dark and the shadows of holly wreaths thrown by lighted windows on the snow. I am part of that, a little solemn with the feel of those long winters, a little complacent from growing up in the Carraway house in a city where dwellings are still called through decades by a family's name. (9.121-122)
This is one of the few times we see anything rural in The Great Gatsby—Nick dismissing the "wheat" and "prairies" of what we'd call the mid-west. But the wheat and prairies he's dismissing are partly the basis of American wealth. All that money they spend on the East Coast has to come from somewhere.
Quote 18
Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors' eyes – a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby's house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder. (9.182)
Now this is a passage to linger over. Before any big houses or valleys of ashes or even lost Swede towns, America in the "Dutch sailors' eyes" was a green, empty land. (They'd apparently never read 1491.) This vision of possibility is the same vision that Gatsby has—but it's no longer possible.
Quote 19
And as I sat there brooding on the old, unknown world, I thought of Gatsby's wonder when he first picked out the green light at the end of Daisy's dock. He had come a long way to this blue lawn, and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night. 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– (9.149)
If there's anything more American than apple pie, it's the belief in self-improvement: that we're all capable of achieving our dreams, if we just hope and work hard enough. Unfortunately for Gatsby, that dream ends in tragedy.
Quote 20
In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since.
"Whenever you feel like criticizing any one," he told me, "just remember that all the people in this world haven't had the advantages that you've had." (1.1-3)
It's a lot easier to be morally upright when you're not pinching and scraping to make a living… which makes the immorality of the wealthy even more unforgivable. Every advantage in the world, and they can't even be nice people? Nick may forgive them, but we're not sure we do.