The Great Gatsby
English Honors Portfolio
Fall 2012
Katherine O’Boyle
Knightdale High School
Wake County Public School System
1
Lesson Plans
Introduction to the novel
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapters 5 and 6
Chapter 7
Chapters 8 and 9
Color Symbolism
Film Comparison
Handouts
The Great Gatsby Study Guide
The Great Gatsby Vocabulary
The Great Gatsby Assignments
Argumentative Essay Guidelines
Argumentative Essay Rubric
Color Symbolism Guidelines
Resources
1920’s Vernacular
“Gatsby’s Guide to Manhood”
“Arts and Entertainment: A Flapper Who
Called Great Neck Her Home”
“Critic’s Notebook: The Endless Infatuation
with Getting ‘Gatsby’ Right”
“For Writers, Plenty of Inspiration”
“Gatsby, 35 Years Later”
“Jingo Belle”
“Our Town: Seeing the Genius Between the
Dashes”
“My Father, I Presume”
“Scott and Zelda: Their Style Lives”
“What Happens to the American Dream in a
Recession?”
“When the Rich-Poor Gap Widens, ‘Gatsby’
Becomes a Guidebook”
3-25
3-5
6-7
8-9
10-11
12-13
14-16
17-18
19-21
22-23
24-25
26-37
27-28
29-32
33
34
35
36
38-67
38-40
41
43-44
45-47
48-49
50-53
54-55
56-57
58-59
60-63
64-65
66-67
2
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
SUBJECT/COURSE: English III Honors
DATE: December 6, 2013
PERIOD: 2nd and 4th
CCSS.ELA-Literacy.SL.11-12.1c Propel conversations by posing and responding to questions that probe
reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or
challenge ideas and conclusions; and promote divergent and creative perspectives.
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
CCSS.ELA-Literacy.RL.11-12.4 Determine the meaning of words and phrases as they are used in the text,
including figurative and connotative meanings; analyze the impact of specific word choices on meaning and tone,
including words with multiple meanings or language that is particularly fresh, engaging, or beautiful. (Include
Shakespeare as well as other authors.)
CCSS.ELA-Literacy.RL.11-12.5 Analyze how an author’s choices concerning how to structure specific parts of a
text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution)
contribute to its overall structure and meaning as well as its aesthetic impact.
LEARNING TARGETS
RELEVANCE/RATIONALE
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
Students will be able to discuss, field questions to, and make predictions for the book based on the
assigned argumentative essay questions
Students’ ability to debate and to argue effectively about hypothetical situations will allow them to
connect with the book with significant meaning when applies to the characters’ dilemmas.
What are the consequences absent from the characters’ minds when making choices?
Students will take one of the following argumentative essay prompts and create a short response to it.
This will be their chosen question for the argumentative essay. The response must be 6-8 sentences.
1. Feign: (V) -to imitate deceptively; to make believe; pretend.
2. Supercilious: (Adj.) -having or showing arrogant superiority to and disdain
of those one views as unworthy.
3. Conscientious: (Adj.) -meticulous; careful; painstaking; particular.
4. Incredulous: (Adj.) -indicating or showing unbelief.
5. Reciprocal: (Adj.) -mutual; corresponding; matching; complementary;
equivalent.
6. Wan: (Adj.) -of an unnatural or sickly pallor; pallid; lacking color.
7. Complacent: (Adj.) -often without awareness of some potential danger or
defect; self-satisfied.
8. Intimation: (V) -make known subtly and indirectly; hint.
9. Anon: (Adv.) -in a short time; soon.
3
HOT Q’s
INSTRUCTION &
ASSESSMENT PROMPTS
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
What major transition occurred in purchasing items during the 1920’s that has drastically
affected the economy—even today?
How does the rise in money affect the attitudes towards consumerism as shown through the
documentary and in The Great Gatsby?
Which items from the 1920’s do you believe have had the most inflation? Which have had
the least?
Instruction: Students will complete their journal entries which will lead into a discussion about the
argumentative essay. The teacher will present the information necessary for the argumentative essay
and field questions pertaining to the assignment.
AP#1 Student questions
Instruction: Teacher will brainstorm with students about what they know in terms of the 1920’s.
Teacher will then present a documentary based on the Roaring 20’s . Students will be responsible for
“jigsaw”-ing particular segments of the documentary. Students must create 5 important bullet points
and a significant question (for further research) for each section. Students will then create a class
poster including important information from the 20’s to remember when reading our book.
AP#2 Student questions, discussion, notes, and collaborative poster
Instruction: Students will begin reading The Great Gatsby aloud. Students will take turns reading
aloud Chapter 1.
AP#3 Student questions.
Argumentative Essay Rubric, Argumentative Essay Organizer, Handouts on The Great Gatsby
Assignments
Students will move into groups in order to collaborate on the documentary.
Students may use phones to field questions pertaining to their “jigsaw”-ed section of the documentary.
Students have visual aids, opportunities for individual and group work, and read aloud.
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
HOMEWORK
Teacher will field questions and periodically question students throughout.
Read Chapter 1, write definitions for vocabulary, answer questions for Chapter 1, and keep running
notes of color symbolism.
4
LEVEL OF RIGOR
1
2
3
4
5
STUDENT-CENTERED
1
2
3
4
5
REFLECTIONS
Handouts, projector, laptop, pens, pencils, paper, poster paper, copies of The Great Gatsby
RESOURCES &
MATERIALS
5
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
DATE: December 9, 2013
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
LEARNING TARGETS
RELEVANCE/RATIONALE
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
HOT Q’s
INSTRUCTION &
ASSESSMENT PROMPTS
SUBJECT/COURSE: English III Honors
PERIOD: 2nd and 4th
CCSS.ELA-Literacy.RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop
and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the
characters are introduced and developed).
CCSS.ELA-Literacy.SL.11-12.1a Come to discussions prepared, having read and researched material
under study; explicitly draw on that preparation by referring to evidence from texts and other research
on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.
Students will be able to analyze imagery in Chapter 1 of The Great Gatsby for setting and direct and
indirect characterization
Students’ understanding of Fitzgerald’s symbolic nature of writing in class will build a foundation for
stronger independent reading.
Who does Fitzgerald lead us to believe is trustworthy/kind? How does he do this?
Students will complete the following journal entry: Who are we supposed to like by the end of Chapter
1? Who are we supposed to dislike? Give examples from the text.
1. Feign: (V) -to imitate deceptively; to make believe; pretend.
2. Supercilious: (Adj.) -having or showing arrogant superiority to and disdain of those one views as
unworthy.
3. Conscientious: (Adj.) -meticulous; careful; painstaking; particular.
4. Incredulous: (Adj.) -indicating or showing unbelief.
5. Reciprocal: (Adj.) -mutual; corresponding; matching; complementary; equivalent.
6. Wan: (Adj.) -of an unnatural or sickly pallor; pallid; lacking color.
7. Complacent: (Adj.) -often without awareness of some potential danger or defect; self-satisfied.
8. Intimation: (V) -make known subtly and indirectly; hint.
9. Anon: (Adv.) -in a short time; soon.
How does Nick change over the course of Chapter 1?
Why is it important that Nick lives in East Egg?
In what ways are Tom and Nick foils?
Instruction: Students will complete their journal entries, quiz, and review of Chapter 1 Questions and
setting. This review will be done both independently and whole-class to build a foundation for
discussion. The Chapter 1 Question review will be done aloud; the teacher will also present a short
presentation with questions to the students to ensure their understanding of the text. Teacher will also
review vocabulary.
AP#1 Student writing and quiz, questions, and discussion
6
Instruction: Students will then work in pairs to find quotes pertaining to imagery in Chapter 1 (ex: “an
body capable of enormous leverage—a cruel body” page 7). Students will then create a poster on the
board with their quotes. Teacher will present a short video on characterization as review. Students
will work in pairs picking one of the following four characters: Nick, Daisy, Tom, Jordan, and find direct
and indirect characterization about them through quotes from the text. The class will create T charts
for each of the characters. Students will then create a T chart comparing and contrasting East Egg vs.
West Egg.
AP#2 Student questions and notes; class discussion
Instruction: Students will then have a “Quick Write;” How does Nick change throughout the chapter?
He comes from a wholesome background, but how does he change his opinions? “ Students will then
discuss this aloud and begin reading Chapter 2, if time allows.
AP#3 Student writing; class discussion
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
Student made T charts; whole group charts done on the board
Students will have opportunities for movement when working with pairs, writing at the board, etc
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
Students have opportunities for independent and group work, silent/quiet reading and reading aloud,
visuals, etc…
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
HOMEWORK
Teacher will summarize throughout with divergent questions. The discussion of Nick also serves as
summary of today’s lesson.
Read Chapter 2, answer Chapter 2 questions, and complete vocabulary
LEVEL OF RIGOR
1
2
3
4
5
STUDENT-CENTERED
1
2
3
4
5
REFLECTIONS
Copies of The Great Gatsby, laptop, projector, pens/pencils, paper, poster paper, markers, etc…
RESOURCES &
MATERIALS
7
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
DATE: December 10, 2013
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
LEARNING TARGETS
RELEVANCE/RATIONALE
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
HOT Q’s
INSTRUCTION &
ASSESSMENT PROMPTS
SUBJECT/COURSE: English III Honors
PERIOD: 2nd and 4th
CCSS.ELA-Literacy.RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop
and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the
characters are introduced and developed).
CCSS.ELA-Literacy.SL.11-12.1a Come to discussions prepared, having read and researched material
under study; explicitly draw on that preparation by referring to evidence from texts and other research
on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.
Students will be able to analyze the symbolism and characterization within Chapter 2 of The Great
Gatsby.
Students’ understanding of Fitzgerald’s symbolic nature of writing in class will build a foundation for
stronger independent reading.
What are the values of the characters at Myrtle’s party?
Students will complete the following journal entry: Choose either the valley of ashes or the eyes of Dr.
T.J. Eckleberg. What do you believe either of these symbolizes?
1. Contiguous: (Adj.) -connecting without a break; uninterrupted.
2. Facet: (N) -aspect; phase; side.
3. Interpose: (V) -to step in between parties at variance; mediate.
4. Apathetic: (Adj.) -not interested or concerned; indifferent or unresponsive.
5. Languid: (Adj.) -lacking in spirit or interest; listless; indifferent.
6. Imply: (V) -to indicate or suggest without being explicitly stated.
7. Strident: (Adj.) -having a shrill, irritating quality or character.
8. Deft: (Adj.) -nimble; skillful; clever.
9. Clad: (Adj.) -dressed; covered.
What does the treatment of the dog suggest?
Why is Mr. McKee so intent on “doing a study?”
What is the subject/nature of the conversation at the party? What does this say about the
characters?
Instruction: Students will complete their journal entries, quiz, and review of Chapter 2 Questions and
setting. This review will be done both independently and whole-class to build a foundation for
discussion. The Chapter 2 Question review will be done aloud; the teacher will also present a short
presentation with questions to the students to ensure their understanding of the text. Teacher will also
review vocabulary.
AP#1 Student writing and quiz, questions, and discussion
Instruction: Students will then create a character map detailing how each character knows another
8
character. Students will create a large map together on the board and add to the Tom Buchannan
Direct/Indirect Characterization chart. Students will also create a characterization chart based on
Myrtle Wilson, Tom’s lover.
AP#2 student writing, questions, and discussion
Instruction: Students will conduct a Quick Write: Look at the last two pages of the chapter. How does
the writing change, and what does this reflect? The discussion will naturally lead into the drunkenness
and debauchery of the “innocent” narrator, Nick Carraway.
AP#3 Student writing, questions, and discussion
GRAPHIC ORGANIZER(S )
USED
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
Student created T charts and character maps
Student made T charts; whole group charts done on the board
Students will have opportunities for movement when working with pairs, writing at the board, etc
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
Students have opportunities for independent and group work, silent/quiet reading and reading aloud,
visuals, etc…
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
HOMEWORK
Teacher will summarize throughout with divergent questions. The discussion of Nick also serves as
summary of today’s lesson.
Read Chapter 3, answer Chapter 3 questions, and complete vocabulary
LEVEL OF RIGOR
1
2
3
4
STUDENT-CENTERED
1
2
3
4
REFLECTIONS
9
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
DATE: December 11, 2013
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
SUBJECT/COURSE: English III Honors
PERIOD: 2nd and 4th
CCSS.ELA-Literacy.RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop
and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the
characters are introduced and developed).
LEARNING TARGETS
CCSS.ELA-Literacy.SL.11-12.1a Come to discussions prepared, having read and researched material
under study; explicitly draw on that preparation by referring to evidence from texts and other research
on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.
Students will be able to analyze the characterization (direct and indirect) in The Great Gatsby and form
prediction about the background and future actions of Jay Gatsby.
RELEVANCE/RATIONALE
Students’ ability to analyze and predict in pairs and with the class will strengthen their ability to analyze
and predict independently.
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
What are the values of the partygoers?
Students will complete a journal entry for the following paragraph: Find a quote describing something
extravagant/ridiculous in Chapter 3. Explain the hyperbolic event and why it is extraordinary in 6-8
sentences.
1. Permeate: (V) -to pass into or through every part of; to penetrate through the pores; to be diffused
through; pervade; saturate.
2. Innuendo: (N) -an indirect comment about a person or thing, esp. of a disparaging or a derogatory
nature.
3. Erroneous: (Adj.) -containing error; mistaken; incorrect; wrong.
4. Vehement: (Adj.) -strongly emotional; intense or passionate.
5. Impetuous: (Adj.) -characterized by sudden or rash action, emotion, etc.; impulsive.
6. Vacuous: (Adj.) -lacking in ideas or intelligence.
7. Corpulent: (Adj.) -large or bulky of body; portly; stout; fat.
8. Provincial: (Adj.) -having the manners, and viewpoints considered characteristic of unsophisticated
inhabitants of a province; rustic; narrow or illiberal.
9. Din: (N) -a loud,
HOT Q’s
Is Jordan’s suspicion justified?
What does the car accident reveal about Fitzgerald’s view of the American Dream?
What does Owl Eye’s statement about the books in the library suggest?
INSTRUCTION &
ASSESSMENT PROMPTS
Instruction: Students will complete their journal entries, quiz, and review of Chapter 3 Questions and
setting. This review will be done both independently and whole-class to build a foundation for
discussion. The Chapter 3 Question review will be done aloud; the teacher will also present a short
presentation with questions to the students to ensure their understanding of the text. Teacher will also
review vocabulary.
AP#1 Student writing and quiz, questions, and discussion
10
Instruction: Students will then use vocabulary from the 1920’s to describe a scene from Chapter 3 with
their partner. Students will write at least two paragraphs depicting an interaction between two or more
characters (minor or major). Students will then share their paragraphs with the class.
AP#2 Student writing and class discussion
Instruction: Students will then view two different films’ views of the party scenes as well as John
Green’s pictorial representation of the party scene and compare the three to their own understanding.
Students will be presented with HOTQ’s at this time, which will lead into the discussion of “Who is
Gatsby, and what is his motive?” Students will think-pair-share about his background. Pairs must
come to consensus on what they believe his background to be. Students will then create a direct and
indirect characterization chart on Gatsby
AP#3 Student work; class conversation
Student made T charts; whole group charts done on the board
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
HOMEWORK
Students will have opportunities for movement when working with pairs, writing at the board, etc
Students have opportunities for independent and group work, silent/quiet reading and reading aloud,
visuals, etc…
Teacher will summarize throughout with divergent questions. The discussion of Nick also serves as
summary of today’s lesson.
Read Chapter 4, answer Chapter 4 questions, and complete vocabulary
LEVEL OF RIGOR
1
2
3
4
STUDENT-CENTERED
1
2
3
4
REFLECTIONS
11
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
DATE: December 12, 2013
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
SUBJECT/COURSE: English III Honors
PERIOD: 2nd and 4th
CCSS.ELA-Literacy.RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop
and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the
characters are introduced and developed).
LEARNING TARGETS
CCSS.ELA-Literacy.SL.11-12.1a Come to discussions prepared, having read and researched material
under study; explicitly draw on that preparation by referring to evidence from texts and other research
on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.
Students will be able to analyze the characterization (direct and indirect) in The Great Gatsby and form
prediction about the background and future actions of Jay Gatsby.
RELEVANCE/RATIONALE
Students’ ability to analyze and predict in pairs and with the class will strengthen their ability to analyze
and predict independently.
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
HOT Q’s
INSTRUCTION &
ASSESSMENT PROMPTS
What does the indirect characterization of Gatsby suggest?
Students will enter the room and complete the following journal prompt: What does Gatsby’s
relationship with Wolfsheim suggest?
1. Knickerbocker: (N) -any New Yorker.
2. Fluctuate: (V) -to change continually; shift back and forth.
3. Sporadic: (Adj.) -appearing or happening at irregular intervals in time; occasional.
4. Rajah: (N) -a king or prince in India; a minor chief or dignitary.
5. Elicit: (V) -to draw or bring out or forth; educe; evoke.
6. Valor: (N) -heroic courage; bravery.
7. Somnambulatory: (Adj.) -related to sleep walking.
8. Denizen: (N) -an inhabitant; a resident; one that frequents a particular place.
9. Jaunty: (Adj.) -easy and sprightly in manner or bearing.
How did Wolfsheim get the cufflinks?
Jordan did not recognize Gatsby. What does this suggest?
Why is it important to have imperfect characters?
Instruction: Students will complete their journal entries, quiz, and review of Chapter 4 Questions and
setting. This review will be done both independently and whole-class to build a foundation for
discussion. The Chapter 4 Question review will be done aloud; the teacher will also present a short
presentation with questions to the students to ensure their understanding of the text. Students will
come to consensus in triads about vocabulary.
AP#1 Student writing and quiz, questions, and discussion
Instruction: Teacher and students will work together to create a character map on the board with
details about the relationships between each character. Students may add to the chart themselves
12
with teacher suggestion/permission. Students will copy the chart in their notebooks.
AP#2: Student questions, discussion, and notes
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
Instruction: Students will conduct a Quick Write: “Write from the perspective of Nick Carraway in
Chapter 4. How does your perception of Gatsby change based on what is said?” Students will be able
to read their Quick Writes aloud, if time permits.
AP#3 Student writing and questions.
Students will create their own maps in their notebooks based on class discussion.
Students may assist with the map on the board.
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
Students have opportunities for independent and group work, silent/quiet reading and reading aloud,
visuals, etc…
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
Teacher will summarize throughout with divergent questions. The discussion of Nick also serves as
summary of today’s lesson.
Read Chapter 5 and 6, complete Study Questions and Vocabulary.
HOMEWORK
LEVEL OF RIGOR
1
2
3
4
5
STUDENT-CENTERED
1
2
3
4
5
REFLECTIONS
RESOURCES &
MATERIALS
13
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
DATE: December 13, 2013
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
LEARNING TARGETS
RELEVANCE/RATIONALE
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
SUBJECT/COURSE: English III Honors
PERIOD: Blocks 2 and 4
CCSS.ELA-Literacy.RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop
and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the
characters are introduced and developed).
CCSS.ELA-Literacy.SL.11-12.1a Come to discussions prepared, having read and researched material
under study; explicitly draw on that preparation by referring to evidence from texts and other research
on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.
Students will be able to analyze the characterization (direct and indirect) in The Great Gatsby and form
prediction about the future actions of Jay Gatsby.
Students’ ability to analyze and predict in pairs and with the class will strengthen their ability to analyze
and predict independently.
Why is it necessary for James Gatz to become Jay Gatzby?
Students will complete a journal entry for the following prompt:
Read the next to last paragraph on page 110 beginning with “…One…” Pay attention to the last
sentence in the paragraph. What does this tell us about Jay Gatsby?
Chapter 5
1. Rout: (N) -an overwhelming defeat.
2. Innumerable: (Adj.) -very numerous; incapable of being counted; countless.
3. Ecstatic: (Adj.) -subject to or in a state of ecstasy; rapturous.
4. Reproach: (V) -to find fault with (a person, group, etc.); blame.
5. Serf: (N) -a slave.
6. Obstinate: (Adj.) -inflexible; stubborn; not yielding.
7. Exult: (V) -to show or feel a lively or triumphant joy; rejoice; be highly elated or jubilant.
8. Hulking: (Adj.) -heavy and clumsy; bulky.
9. Nebulous: (Adj.) -hazy, vague, indistinct, or confused.
Chapter 6
1. Laudable: (Adj.) -deserving praise; praiseworthy; commendable.
2. Insidious: (Adj.) -intended to entrap or trick.
3. Repose: (N) -peace; tranquillity; calm.
4. Debauch: (N) -an uninhibited spree or party.
5. Antecedent: (N) -a preceding circumstance, event, object, style, phenomenon.
6. Ingratiate: (V) -to establish (oneself) in the favor or good graces of others by deliberate effort.
14
7. Dilatory: (Adj.) -tending to delay or procrastinate; slow; tardy.
8. Desolate: (Adj.) -barren or laid waste; devastated; deprived or destitute of inhabitants; deserted;
uninhabited; solitary; lonely.
9. Elusive: (Adj.) -hard to express or define; cleverly or skillfully evasive.
HOT Q’s
What simplicities does Daisy not understand at the party?
To what “Act of God” is Daisy referring?
What is short-sighted about Gatsby’s view of his future with Daisy?
Instruction: Students will complete their journal entries, quiz, and review of Chapters 5&6 Questions
and setting. This review will be done both independently and whole-class to build a foundation for
discussion. The Chapters 5&6 Question review will be done aloud; the teacher will also present a
short presentation with questions to the students to ensure their understanding of the text. Students
will come to consensus in triads about vocabulary.
AP#1 Student writing and quiz, questions, and discussion
INSTRUCTION &
ASSESSMENT PROMPTS
Instruction: Students will then discuss Chapter 5 in depth with close attention to Daisy and her view of
the party. Teacher will use a slideshare presentation with triad 1 minute discussions and group share.
AP#2 Student discussion and questions
Instruction: Students will use Jay Gatsby as an inspiration for creating alter-egos. Students will read
“Gatsby’s Guide to Manhood,” discuss in triads, and discuss in whole group. After viewing a timeline
of Gatsby’s journey and discussing main points, students will create new names, (similar to their
current ones), new backgrounds, new signatures, and possible a new “look,” which can be done with
crayons/pencils on their papers to turn in. If time allows, students will share their new identities.
AP#3 Student discussion, questions, and writing
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
Students will add to their characterization charts through discussion.
Students will be able to add to the characterization charts as they bring new ideas to the conversation.
If used appropriately, students may use the internet on their phones to search for key ideas for their
writing.
Students have opportunities for independent and group work, silent/quiet reading and reading aloud,
visuals, etc…
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
HOMEWORK
Teacher will summarize throughout with divergent questions. The discussion of Nick also serves as
summary of today’s lesson.
Read Chapter 7, answer the questions, and complete the vocabulary
15
LEVEL OF RIGOR
1
2
3
4
5
STUDENT-CENTERED
1
2
3
4
5
REFLECTIONS
Copies of the book, projector, laptop, paper, crayons, pencils
RESOURCES &
MATERIALS
16
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
DATE: December 17, 2013
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
LEARNING TARGETS
RELEVANCE/RATIONALE
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
HOT Q’s
INSTRUCTION &
ASSESSMENT PROMPTS
SUBJECT/COURSE: English III Honors
PERIOD: Blocks 2 and 4
CCSS.ELA-Literacy.RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop
and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the
characters are introduced and developed).
CCSS.ELA-Literacy.SL.11-12.1a Come to discussions prepared, having read and researched material
under study; explicitly draw on that preparation by referring to evidence from texts and other research
on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.
Students will be able to analyze the characterization (direct and indirect) in The Great Gatsby and form
prediction about the future actions of Jay Gatsby.
Students’ ability to analyze and predict in pairs and with the class will strengthen their ability to analyze
and predict independently.
What bias does the protagonist show?
Students will complete a journal entry for the following prompt: From what character would you rather
have heard in this chapter?
Chapter 7.
1. Lapse: (N) -a slip or error, often of a trivial sort; failure. (V) -to come to an end; stop.
2. Insistent: (Adj.) -earnest or emphatic in dwelling upon, maintaining, or demanding something;
persistent.
3. Tentative: (Adj.) -unsure; uncertain; not definite or positive; hesitant.
4. Tumult: (N) -uproar; disorder; highly distressing agitation of mind or feeling.
5. Portentous: (Adj.) -ominous, predictive of future bad events.
6. Irreverent: (Adj.) -not respectful; critical of what is generally accepted or respected.
7. Vicarious: (Adj.) -taking the place of another person or thing; acting or serving as a substitute.
8. Rancor: (N) -resentment or ill will; hatred; malice.
9. Formidable: (Adj.) -of great strength; forceful; powerful.
How would the story be told differently if told from the perspective of_______?
What does Pammy prove? How does this alter Gatsby’s perception of Daisy?
How does the setting affect the tension when the 5 characters go to Manhattan?
Instruction: Students will complete their journal entries, quiz, and review of Chapters 5&6 Questions
and setting. This review will be done both independently and whole-class to build a foundation for
discussion. The Chapters 7 Question review will be done aloud; the teacher will also present a short
presentation with questions to the students to ensure their understanding of the text. Students will
17
come to consensus in triads about vocabulary.
AP#1 Student writing and quiz, questions, and discussion
Instruction: Students will take newspaper articles from the NY Times related to the novel, the author,
the characters, or the setting and answer various questions on poster paper. Students will then take
post-its and write questions after viewing each poster. Students will return to their original posters and
answered the questions on post-its and re-posted the charts for viewing.
AP#2 Student discussion and questions
Instruction:
AP#3 Student discussion, questions, and writing
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
Students will add to their characterization charts through discussion.
Students will be able to add to the characterization charts as they bring new ideas to the conversation.
If used appropriately, students may use the internet on their phones to search for key ideas for their
writing.
Students have opportunities for independent and group work, silent/quiet reading and reading aloud,
visuals, etc…
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
HOMEWORK
Teacher will summarize throughout with divergent questions. The discussion of Nick also serves as
summary of today’s lesson.
Read Chapters 8 and 9, answer the questions, and complete the vocabulary
LEVEL OF RIGOR
1
2
3
4
5
STUDENT-CENTERED
1
2
3
4
5
REFLECTIONS
Copies of the book, projector, laptop, paper, crayons, pencils
RESOURCES &
MATERIALS
18
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
DATE: December 18, 2013
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
LEARNING TARGETS
RELEVANCE/RATIONALE
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
SUBJECT/COURSE: English III Honors
PERIOD: 2nd and 4th
CCSS.ELA-Literacy.RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop
and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the
characters are introduced and developed).
CCSS.ELA-Literacy.SL.11-12.1a Come to discussions prepared, having read and researched material
under study; explicitly draw on that preparation by referring to evidence from texts and other research
on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.
Students will discuss the symbolism and ending of The Great Gatsby in writing, in pairs, and as a
whole group.
Students’ abilities to communicate through various mediums and with varying groups about their
analyses will build a foundation for communication and critical thinking across disciplines.
What symbols and allusions tell us more about Gatsby and Nick?
Students will complete one of the following journal entries:
To what grail does Nick refer on page 149? Who is the grail? Why?
What grotesque thing did Gatsby see on page 161? What does this reflect in Gatsby’s
thinking?
Chapter 8
1. Humidor: (N) -a container or storage room for cigars or other preparations of tobacco, fitted with
means for keeping the tobacco suitably moist.
2. Indiscernible: (Adj.) -cannot be seen or perceived clearly; imperceptible.
3. Settee: (N) -a seat for two or more persons, having a back and usually arms, and often upholstered.
4. Divot: (N) -a piece of turf gouged out with a club in making a stroke.
5. Garrulous: (Adj.) -excessively talkative in a rambling, roundabout manner, esp. about trivial matters.
6. Incoherent: (Adj.) -without logical or meaningful connection; disjointed; rambling.
7. Conceivable: (Adj.) -imagineable; believeable.
8. Forlorn: (Adj.) -desolate or dreary; unhappy or miserable, as in feeling, condition, or appearance.
9. Laden: (Adj.) -burdened; loaded down.
Chapter 9
1. Pasquinade: (N) –a satire or lampoon, esp. one posted in a public place.
2. Derange: (V) –to disturb the condition, action, or function of; to make insane.
3. Surmise: (V) –to think or infer without certain or strong evidence; conjecture; guess.
4. Superfluous: (Adj.) –being more than is sufficient or required; excessive; unnecessary or needless.
5. Elocution: (N) –a person’s manner of speaking or reading aloud in public.
6. Unutterable: (Adj.) –unspeakable; beyond expression.
7. Subtle: (Adj.) –difficult to perceive or understand.
8. Orgastic: (Adj.) – at the height of emotional excitement.
19
9. Ceaselessly: (Adv.) –without stopping or pausing; unendingly; incessantly
HOT Q’s
What does the change in seasons over the course of the book symbolize?
What do the tennis shoes reflect in 1920’s culture?
What truth did Tom tell? How could this have changed the course of Gatsby’s story?
Instruction: Students will complete their journal entries, quiz, and review of Chapters 8 and 9
Questions and setting. This review will be done both independently and whole-class to build a
foundation for discussion. Teacher will also review vocabulary.
AP#1 Student writing and quiz, questions, and discussion
INSTRUCTION &
ASSESSMENT PROMPTS
Instruction#2: Students will then pick argumentative essay topics and discuss their arguments in their
triads. Students will then share their opinions as a class.
AP#2 Student conversations and questions
Instruction #3: Students will meet in their “Color Symbolism” groups to discuss their presentations
tomorrow.
AP#3 Student conversations and questions
Instruction #4 (if time allows): Students will complete their post-it/poster walk around based on NY
Times articles related to our novel. Students will post questions related to the information on each
poster. Students will then retrieve their original posters and answer the questions on each post-it.
(This is a silent, reflective activity.)Teacher will then lead the discussion.
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
Students will use previous organizers for the characters and the essays related to our novel.
Students will move about the classroom for group discussion and the poster activity (if time allows.)
Students may use phones for finding photos and inspiration for their presentations.
Students have opportunities for individual and group reflection and discussion, visual aids, physical
movement, and graphic organizers.
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
Discussion throughout the class period will serve as summaries of the book and general discussion.
20
HOMEWORK
Work on symbolism project.
LEVEL OF RIGOR
1
2
3
4
5
STUDENT-CENTERED
1
2
3
4
5
REFLECTIONS
Copies of The Great Gatsby, projector, pens/pencils, paper, laptop, poster paper, post-it notes.
RESOURCES &
MATERIALS
21
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
DATE: December 19, 2013
SUBJECT/COURSE: English III Honors
PERIOD: 2nd and 4th
CCSS.ELA-Literacy.RL.11-12.2 Determine two or more themes or central ideas of a text and analyze
their development over the course of the text, including how they interact and build on one another to
produce a complex account; provide an objective summary of the text.
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
CCSS.ELA-Literacy.SL.11-12.4 Present information, findings, and supporting evidence, conveying a
clear and distinct perspective, such that listeners can follow the line of reasoning, alternative or
opposing perspectives are addressed, and the organization, development, substance, and style are
appropriate to purpose, audience, and a range of formal and informal tasks
LEARNING TARGETS
CCSS.ELA-Literacy.RL.11-12.7 Analyze multiple interpretations of a story, drama, or poem (e.g.,
recorded or live production of a play or recorded novel or poetry), evaluating how each version
interprets the source text. (Include at least one play by Shakespeare and one play by an American
dramatist.)
Students will work collaboratively to analyze color symbolism within The Great Gatsby and present
their findings.
RELEVANCE/RATIONALE
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
HOT Q’s
INSTRUCTION &
ASSESSMENT PROMPTS
Students’ abilities to present their analyses will build a foundation for communication skills necessary
across all disciplines.
In what ways in Fitzgerald strategically use your color to represent a theme?
Students will find their new seating arrangement (in table groups based on colors) and answer the
following prompt: Why do you believe your color represents?
Narrative- a spoken or written account of connected events; a story.
Symbolism-the use of objects to represent ideas or qualities
Theme- the subject of a talk, a piece of writing, a person's thoughts, or an exhibition; a topic.
In what scenes are particular colors repeatedly used?
What colors represent similar themes/what evidence do you have to support your claim?
Could your color be easily replaced with another and mean the same thing?
Instruction: Students will answer the journal prompt silently and then discuss with their group their
ideas. Students will then finish planning their presentations in class using chart paper, computers,
etc…The teacher will orbit the room to make sure students are working collaboratively and to answer
questions.
AP#1 Student discussions and questions
Instruction: Students will then present their findings. Students will fill out an organizer to evaluate
themselves as both presenters and listeners. Students are expected to ask their classmates
questions.
AP#2 Student discussion and questions
22
Instruction: Students will then begin viewing the film. Students will take notes on their assigned colors
and the cinematography.
AP#3: Student notes
Students will create their own charts and visuals.
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
The presentation serves as a student movement activity.
Students may use computers in the room to enhance their presentations.
Students have opportunities for independent and group reflection, visual aids, speaking, drawing, and
using music.
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
The presentations serve as summary of the book. The teacher will hold short discussions with the
class in transition from one group to another to ask HOTQ’s and summarize.
Finish your Argumentative Essay.
HOMEWORK
LEVEL OF RIGOR
1
2
3
4
5
STUDENT-CENTERED
1
2
3
4
5
REFLECTIONS
Chart paper, markers, laptop and computers, projector, copies of The Great Gatsby.
RESOURCES &
MATERIALS
23
KNIGHTDALE HIGH SCHOOL LESSON PLANNING
TEMPLATE
TEACHER: Katherine O’Boyle
DATE: December 20, 2013
SUBJECT/COURSE: English III Honors
PERIOD: 2nd and 4th
CCSS.ELA-Literacy.RL.11-12.2 Determine two or more themes or central ideas of a text and analyze
their development over the course of the text, including how they interact and build on one another to
produce a complex account; provide an objective summary of the text.
COMMON CORE &
ESSENTIAL STANDARD (S)
ADDRESSED
CCSS.ELA-Literacy.SL.11-12.4 Present information, findings, and supporting evidence, conveying a
clear and distinct perspective, such that listeners can follow the line of reasoning, alternative or
opposing perspectives are addressed, and the organization, development, substance, and style are
appropriate to purpose, audience, and a range of formal and informal tasks
LEARNING TARGETS
CCSS.ELA-Literacy.RL.11-12.7 Analyze multiple interpretations of a story, drama, or poem (e.g.,
recorded or live production of a play or recorded novel or poetry), evaluating how each version
interprets the source text. (Include at least one play by Shakespeare and one play by an American
dramatist.)
Students will work collaboratively to analyze color symbolism within The Great Gatsby and present
their findings.
RELEVANCE/RATIONALE
ESSENTIAL QUESTIONS
ACTIVATING STRATEGIES
VOCABULARY
PREVIEW/INSTRUCTION
HOT Q’s
INSTRUCTION &
ASSESSMENT PROMPTS
In what ways does the director use your color to represent a particular theme of the novel?
Students will find their new seating arrangement (in table groups based on colors) and answer the
following prompt: Why do you believe your color represents?
Narrative- a spoken or written account of connected events; a story.
Symbolism-the use of objects to represent ideas or qualities
Theme- the subject of a talk, a piece of writing, a person's thoughts, or an exhibition; a topic.
In what scenes are particular colors repeatedly used?
What colors represent similar themes/what evidence do you have to support your claim?
Could your color be easily replaced with another and mean the same thing?
Instruction: Students will enter the room and discuss their colors’ representations in the film in small
groups. The teacher will orbit the classroom for the short discussions. Students should use notes and
refer to yesterday’s viewing to further conversation.
AP#1 Student discussions and questions
Instruction: Students will then finish the film.
AP#2 Student discussion, notes, and questions
24
Instruction: Students will then meet to discuss the representation of their assigned color and the theme
presented. Students will then hold table-group conversations (one representative from each color
group at a table) on whether the director made decisions which reflected Fitzgerald’s intentions. The
teacher will bring the class together for whole-group discussion.
AP#3: Student discussion, notes, and questions
Students will create their own notes (creatively or in bullets).
GRAPHIC ORGANIZER(S )
USED
STUDENT MOVEMENT
ACTIVITY
Students will be seated in two different settings based on activities.
STUDENT TECHNOLOGY
USE
INDEPENDENT PRACTICE
(DIFFERENTIATION)
Students have opportunities for independent and group reflection, visual aids, speaking, drawing, and
using music.
OTHER ENGAGING
ACTIVITIES
SUMMARIZING
STRATEGIES
The discussion serves as a culminating, informal summative assessment of both the book and the film.
HOMEWORK
LEVEL OF RIGOR
1
2
3
4
5
STUDENT-CENTERED
1
2
3
4
5
REFLECTIONS
Laptop projector, copies of The Great Gatsby.
RESOURCES &
MATERIALS
25
Handouts and Supplementary Reading Materials
26
The Great Gatsby
Study Guide Questions
Chapter 1
1. How does the narrator describe Gatsby?
2. From where did the narrator come and why?
3. Describe the narrator's house.
4. Describe the Buchanans' house.
5. How does Nick know Daisy and Tom?
6. Describe Tom. What is our impression of him in Chapter 1?
7. What kind of person is Daisy?
8. What did Miss Baker tell Nick about Tom?
9. When asked about her daughter, what does Daisy say?
10. How is Gatsby introduced into the novel?
Chapter 2
1. What is the "valley of ashes"?
2. What are the "eyes of Dr. T. J. Eckleburg?
3. Who did Tom take Nick to meet?
4. Identify Myrtle and George Wilson.
5. What did Mrs. Wilson buy while she was out with Tom and Nick?
6. Where did they go? What was at 158th Street?
7. Identify Catherine and Mr. & Mrs. McKee.
8. What does Mr. McKee tell Nick about Gatsby?
9. What reason did Myrtle give for marrying George Wilson?
10. What did Tom do to Myrtle when she mentioned Daisy's name?
Chapter 3
1. Describe Gatsby's wealth. List some of the things that represent wealth.
2. What kind of people come to Gatsby's parties?
3. Why did Nick Carraway go to the party?
4. How does Nick meet Gatsby?
5. What are some of the stories about Gatsby?
6. Is Gatsby a "phony"?
7. Describe Nick's relationship with Jordan.
Chapter 4
1. Who is Klipspringer?
2. What does Gatsby tell Nick about himself?
3. What "matter" did Gatsby have Jordan Baker discuss with Nick?
4. Who is Mr. Wolfshiem?
5. What does Mr. Wolfshiem tell Nick about Gatsby?
6. What does Jordan tell Nick about Daisy, Gatsby and Tom?
Chapter 5
1. Describe the meeting between Gatsby and Daisy. Why was he so nervous?
2. How long did it take Gatsby to make the money to buy the mansion?
3. Why did Gatsby want Daisy to see the house and his clothes?
4. What had the green light on the dock meant to Gatsby?
5. What had Gatsby turned Daisy into in his own mind?
27
Chapter 6
1. What is Gatsby's real history? Where is he from, and what is his name?
2. What did Dan Cody do for Gatsby?
3. What is Daisy's opinion of Gatsby's party? How does this affect him?
4. What does Gatsby want from Daisy?
Chapter 7
1. What was Gatsby's reaction to Daisy's child?
2. What did Wilson do to Myrtle? Why?
3. Why do the five drive into the city on such a hot afternoon?
4. What does Gatsby think about Daisy's relationship with Tom?
5. What is Daisy's reaction to both men?
6. What happens on the way home from New York?
7. How do these people react to Myrtle's death:
a. Wilson:
b. Tom:
c. Nick:
d. Gatsby:
8. What is the true relationship between Daisy and Tom?
Chapter 8
1. What does Gatsby tell Nick about his past? Is it true?
2. What is believed to caused Myrtle to run?
3. Why did she run?
4. Why does Wilson believe that Gatsby killed Myrtle?
5. What does Wilson do?
Chapter 9
1. Why couldn't Nick get anyone to come to Gatsby's funeral?
2. Who is Henry C. Gatz?
3. What is the book Henry Gatz shows Nick? Why is it important to the novel?
4. What happens between Nick and Jordan Baker?
5. What does Nick say about people like Daisy and Tom?
http://www.careerhighschool.org/uploads/1/5/9/7/15971030/gatsby.pdf
28
The Great Gatsby
Vocabulary
Chapter 1
1. Feign: (V) -.
2. Supercilious: (Adj.) 3. Conscientious: (Adj.)
4. Incredulous: (Adj.)
5. Reciprocal: (Adj;
6. Wan: (Adj.) -.
7. Complacent: (Adj.) –
8. Intimation: (V) 9. Anon: (Adv.) -
Chapter 2
1. Contiguous: (Adj.) .
2. Facet: (N) 3. Interpose: (V)
4. Apathetic: (Adj.) -.
5. Languid: (Adj.) -.
6. Imply: (V) -.
7. Strident: (Adj.)
-8. Deft: (Adj.) -.
9. Clad: (Adj.) 2
29
Chapter 3
1. Permeate: (V) –
2. Innuendo: (N) –
3. Erroneous: (Adj.) -.
4. Vehement: (Adj.) -.
5. Impetuous: (Adj.) –
6. Vacuous: (Adj.) –
7. Corpulent: (Adj.)
8. Provincial: (Adj.)
9. Din: (N) –
Chapter 4
1. Knickerbocker: (N) -.
2. Fluctuate: (V) .
3. Sporadic: (Adj.) –
4. Rajah: (N) 5. Elicit: (V) –
6. Valor: (N) –
7. Somnambulatory: (Adj.) -.
8. Denizen: (N) –
9. Jaunty: (Adj.) -
Chapter 5
1. Rout: (N) –
2. Innumerable: (Adj.) –
30
3. Ecstatic: (Adj.) -.
4. Reproach: (V) -.
5. Serf: (N) 6. Obstinate: (Adj.) 7. Exult: (V) 8. Hulking: (Adj.) –
9. Nebulous: (Adj.) -
Chapter 6
1. Laudable: (Adj.) -.
2. Insidious: (Adj.) -.
3. Repose: (N) -.
4. Debauch: (N) 5. Antecedent: (N) -.
6. Ingratiate: (V) –
7. Dilatory: (Adj.) –
8. Desolate: (Adj.) -;
9. Elusive: (Adj.) -
Chapter 7
1. Lapse: (N) –
2. Insistent: (Adj.) –
3. Tentative: (Adj.)
4. Tumult: (N) –
5. Portentous: (Adj.)
31
6. Irreverent: (Adj.) –
7. Vicarious: (Adj.) –
8. Rancor: (N) –
9. Formidable: (Adj.) –
Chapter 8
1. Humidor: (N)
2. Indiscernible: (Adj.)
3. Settee: (N)
4. Divot: (N)
5. Garrulous: (Adj.) -,
6. Incoherent: (Adj.) ;
7. Conceivable: (Adj.
8. Forlorn: (Adj.)
9. Laden: (Adj.) –
Chapter 9
1. Pasquinade: (N) –
2. Derange: (V)
3. Surmise (V)4. Superfluous: (Adj.) 5. Elocution: (N) 6. Unutterable: (Adj.)
7. Subtle: (Adj.)
8. Orgastic: (Adj.)
9. Ceaselessly: (Adv.)
http://www.mtcarmelacademy.net/uploads/1/1/7/5/11752808/gatsby_vocab..pdf
32
The Great Gatsby assignments
Your homework will be checked at the beginning of the class on which they are due. You will
also have a quiz on what happened in the chapter after the discussion of each journal entry for
that day.
By Monday, December 8:
Chapter 1
Vocabulary and Study Questions
By Tuesday, December 9:
Chapter 2
Vocabulary and Study Questions
By Wednesday, December 10:
Chapter 3
Vocabulary and Study Questions
By Thursday, December 11:
Chapter 4
Vocabulary and Study Questions
By Friday, December 12:
Chapters 5 and 6
Vocabulary and Study Questions for
both chapters
By Tuesday, December 17:
Chapter 7 (It’s 32 pages!)
Vocabulary and Study Questions
By Wednesday, December 18:
Chapters 8 and 9
Vocabulary and Study Questions
By Thursday, December 19:
Color Analyses Notes
By Friday, December 20:
7 paragraph Argumentative Essay
*Late work will be heavily penalized!*
Color Analyses: You will be divided into groups to develop an analysis of the symbolic use of a
color. You will keep running notes on your own as you read including the page number, the
quote, and the context in which your color was used. The color’s symbol may not be apparent
until you read further in the story. You may not understand the symbolism until you meet with
your group, and that’s okay. You will give a group presentation on Fitzgerald’s use of the color
within the book on Thursday, December 19. Details TBA. Your color assignments, which will
not be altered, are as follows:
Block 2
Block 4
Golden/Yellow
Silver
White
Green
Gray
Blue
Pink/Red/Rose
33
Argumentative Essay Assignment
You will write an argumentative essay based on one of the following prompts:
Should Daisy choose Tom or Jay?
Should Jay throw parties for Daisy's attention?
To what lengths should Jay go to reach his dreams? Was he excessive?
Should Jay take the blame?
Should Nick even be telling Jay's story?
Can an individual rewrite his past?
Your essay will be 7 paragraphs long and include a paragraph for each of the following:
Introduction/Thesis
1st Argument and supporting details (at least three)
2nd Argument and supporting details (at least three)
3rd Argument and supporting details (at least three)
The Counter Argument
Evidence against the Counter Argument (at least three supporting details)
Conclusion
You will use page numbers for each of your supporting details.
34
Argumentative Essay Rubric
5
Mastery
4
Proficient
3
Basic
2
1
Standard Not Met
Standard Not Met
Claim
(Ideas and Org.)
Introduces a well
thought out claim at
the beginning of the
essay.
Introduces a claim
later in the essay.
Claim is not as clear as
it should be.
Hard to find the claim.
No claim.
Opposing Claim
(Org.)
Acknowledges
alternate or opposing
claims.
Opposing claims are
not strong or relevant
to the claim.
Opposing claims are
unclear.
Hard to finding
opposing claims.
Opposing claims not
addressed.
Evidence
(Ideas & Org.)
Supports the claim
with logical reasoning
and relevant
evidence,
demonstrating a
complete
understanding of the
topic.
Supports the claim
with reasoning and
evidence, and
demonstrates some
understanding of the
topic.
Evidence is not
relevant or
completely thought
out.
Lacks evidence and
relevance.
No evidence.
Words, Phrases,
clauses and
sentences
(Word Choice & Sent.
Fluency)
Uses a variety of
words, phrases, and
clauses to create
cohesion and clarify
the relationships
among the claim,
reasons, and
evidence.
One or two errors but
not enough to cause
misunderstanding.
Some variety in word
usage.
More than 3 errors
with little variety in
word choice.
Cohesion is harder to
follow as a result.
Nearly all
phrases/clauses are
incorrect. Little
cohesion and clarity
exists between claims
and evidence.
No cohesion and
clarity.
Style
(Voice and Sent.
Fluency)
Establishes and
maintains a formal
style.
Mostly follows formal
style.
Few informal sections
of writing.
Casual style and
jargon.
No formal style—
almost like “text
speak.”
Concluding
Statement
(Ideas & Org.)
Provides a concluding
statement that follow
from and support the
argument presented.
Concluding statement
mostly supports the
argument presented.
Concluding statement
mentions the
argument presented.
Concluding statement
is incomplete and/or
does not mention the
statement.
No concluding
statement.
Conventions
/Grammar,
Usage and Mechanics
Demonstrates
exceptional command
of the conventions of
standard written
language and is free
of errors.
Demonstrates strong
command of the
conventions of
standard written
language, having few
errors.
Demonstrates
proficient command
of the conventions of
standard written
language with some
errors, which may
confuse meaning.
Demonstrates
marginal command of
the conventions of
standard written
language with many
errors.
Demonstrates poor
command of the
conventions of
standard written
language.
Research
Uses the novel and
successfully addresses
the claim/thesis.
Sources are cited
correctly.
Uses the novel and
successfully addresses
the claim/thesis.
Most sources are
cited correctly.
Uses the novel, but
sparingly. Sources are
correctly cited.
Uses the novel
sparingly. Sources are
not cited or
incorrectly cited.
No evidence of
research.
Inspired by the Washington County School District.
35
Color Symbolism Presentation Requirements:
You will meet in your groups to discuss the symbolism and use of your assigned color for our reading.
Please share your notes. You will use chart paper and/or any visual aid you find important (drawings,
print outs of pictures of particularly important objects/clothing, etc…). You may also use a clip of a
song…be creative!
Your presentation will
be between 3 and 5 minutes long
include at least 4 quotes (you must explain them)
include 3 pictures/visuals
include all members of your group speaking!
You may not read word-for-word off your chart paper unless you are reading a quote.
You may show a clip or play music, but you may not show a clip of “Symbolism in The Great Gatsby” or
something similar from a similar assignment at another school.
36
Resources/Readings Used in Class
37
1920’s Vernacular
1. Ankle: to walk
2. “Applesauce!”:
“Horsefeathers!”
3. “Bank’s closed!”: what you
tell someone to stop making out
4. Bearcat: a lively, spirited
woman, possibly with a fiery
streak
5. Berries: like “bee’s knees,” denotes
that something is good, desirable or
pleasing. “That sounds like berries to
me!”
6. Bimbo: refers to a macho man
7. Bluenose: term for a prude or
individual deemed to be a killjoy
8. Bubs: a woman’s boobs
9. “Bushwa!”: “Bull!”
10. “Butt me!”: “I would like a
cigarette.”
11. Cancelled stamp: a shy, lonely female, the
type one would describe as a “wallflower”
12. Cash: a smooch
14. Cheaters: Glasses or bifocals
15. Choice bit of calico: a desirable woman
16. Darb: something deemed wonderful or
splendid, similar to “berries”
17. Dewdropper: like lollygagger, a slacker
who sits around all day and does nothing, often
unemployed
18. “Don’t take any wooden
nickels!”: “Don’t do anything dumb!”
38
19. Dumb Dora: an unintelligent woman
20. Egg: a person who leads an
absurdly wealthy, extravagant lifestyle
(see: Gatsby’s “West Egg”)
21. Four-flusher: someone who
mooches off the money of others in
order to feign wealth
22. Gasper: cigarette, “fag” (also of
the 1920s)
23. Giggle water: liquor, alcoholic
beverage
24. “Go chase yourself!”: “Get out of here!”
25. Handcuff: engagement ring
26. Half-seas over: really,
really drunk
27. Hayburner: a car with poor
gas-mileage, a guzzler
28. Hotsy-totsy: attractive,
pleasing to the eye
29. Icy mitt: rejection from the
object of one’s affection, as in:
“He got the icy mitt.”
30. Iron one’s shoelaces: to excuse oneself for the restroom
31. Jake: okay, fine, as in “Don’t worry, everything’s jake.”
32. Jorum of skee: a swig of alcohol, particularly hard liquor
33. Know your onions: to know what’s up or what’s going on
34. “Let’s blouse!”: “Let’s blow this
popsicle stand!”
35. Manacle: Wedding ring
36. Mazuma: Dollar bills, cash, money
37. Mrs. Grundy: an uptight or very
straight-laced individual
38. Noodle juice: tea.
39. “Now you’re on the trolley!”:
39
“Now you’ve gotten it right!”
40. Oliver Twist: an extremely good dancer.
41. On a toot: on a bender
42. Ossified: drunk
43. Quilt: an alcoholic beverage
that keeps you warm
44. Panther Spit: whiskey,
particularly homemade whiskey
45. Petting pantry: a cinema or
movie theatre
46. “Phonus balonus!”: “That’s nonsense!”
47. Pull a Daniel Boone: to upchuck
48. Reuben: a hick or redneck
49. Rub: a dance party for college or high
school students
50. Sheba – someone’s girlfriend; or a
sexually desirable woman
40
“Gatsby’s Guide to Manhood”
Near the end of The Great Gatsby Nick reveals that the young, idealistic, and disciplined
Jay Gatsby wrote some “General Resolves” inside his copy of Clarence Mulford’s 1910 novel
Hopalong Cassidy. The second in what would be a series of novels,
Bill “Hopalong” Cassidy provided an adventurous role model to young boys. In the 1930s, these
novels would be made into popular films. It is not surprising therefore, that the young Gatsby
would have been fascinated with this heroic cowboy.
Fitzgerald continues to reference western heroes by naming Gatsby’s benefactor “Dan
Cody,” an allusion to Daniel Boone and Buffalo Bill Cody. In the late eighteenth century, Daniel
Boone, an American pioneer, created routes for westward expansion to what is now Kentucky
and Missouri. Narratives of these exploits were published in magazines, inspiring young people
with accounts of courage. Buffalo Bill Cody began his career with a series of Wild–West
experiences, working for Custer, shooting buffalo, and acting as a scout for the U.S.
Army. In 1872, Cody received the Congressional Medal of Honor for his service. Later, a
penchant for showmanship led to “Buffalo Bill’s Wild West,” a theatrical version of western
adventures. This show would run for thirty years. When Cody died in 1917, his fortune was
plundered by mismanagement, but his reputation remained intact.
The young Gatsby created rules for his behavior as well as a regimented schedule. This
routine included exercising, studying electricity, working, playing sports, practicing “elocution
and poise,” and concluding each day with a two-hour study of inventions. In the 1920s, the
practice of creating a routine and following certain “resolves” was encouraged by the YMCA,
the United States Public Health Service, and other organizations intent on
shaping young people into model citizens. The United States Public Health Service released a
series of posters to assist young boys and girls in developing a healthy lifestyle. While these
posters advocated a daily regimen of exercise, they also instructed young people on eating
habits, sexual practices, and moral behavior. For example, one poster provides a sample
reading list to properly guide the young male mind. Similar posters assisted
young girls in how to keep a good home, stay fit, and build a family.
The Great Gatsby’s cast includes only adult characters that would have been raised in an
environment filled with guidelines for proper behavior and cowboy legends. Perhaps Gatsby
himself never matures, endlessly enchanted by his dreams, relentless in his attempts—guided
by “general resolves”—to become the mythic American figure like Daniel Boone, Buffalo Bill, or,
in the novel, Dan Cody. This may be only one way that the novel becomes a satire, critiquing
the implausible dreams and childish whims embraced by the Roaring Twenties generation in
America.
National Endowment for the Arts
The Big Read
41
Newspaper Articles from the New York Times
42
May 25, 2003
ARTS & ENTERTAINMENT
ARTS & ENTERTAINMENT; A Flapper Who Called Great
Neck Her Home
By DAVID EVERITT
Stony Brook— ALTHOUGH F. Scott and Zelda Fitzgerald lived on Long Island for only a year and a half, they are
one of the area's most celebrated couples. They are remembered as glamorous symbols of Jazz Age extravagance.
They are also remembered for their great talent.
Scott's short stories earned him wealth during his lifetime, and his novels, especially ''The Great Gatsby,'' secured him
literary prestige after his death. Zelda's talent was less recognized in her time but much more multi-faceted. She wrote
both short stories and a novel, and became a proficient ballet dancer. She also had a third creative outlet -- painting -that is often overlooked.
That talent is showcased in a new exhibition, ''Flappers in Fashion: Zelda Fitzgerald & the Jazz Age,'' at the Long
Island Museum of American Art, History and Carriages in Stony Brook. The show, which opens this weekend,
incorporates a traveling exhibition of 54 of Zelda's paintings. But also on display are many photographs, documents
and artifacts from the early 1920's, when the Fitzgeralds were part of a literary and Broadway crowd -- including Basil
Rathbone, George M. Cohan and Ring Lardner -- that lived in Great Neck.
The Fitzgeralds moved to 6 Gateway Drive in Great Neck Estates in October 1922, two years after Scott, then 26,
gained fame for his first novel, ''This Side of Paradise.'' Zelda, who was then 22, was known best as the inspiration for
her husband's flapper heroines, although she was also developing skills as a short-story writer.
Some of the exhibition's artifacts relate directly to the Fitzgeralds, like a silver-plated hip flask that Zelda gave to Scott
during World War I. Others evoke the era in more general terms, like displays of 1920's clothing, and a commercial
item known as ''The Covabob,'' a fake tress of hair that a woman could attach for those occasions when the flapper's
bob style was considered too unconventional.
Part of the show illustrates the impact of Prohibition on the Island. A photograph shows the aftermath of a truck
accident at Route 110 and Jericho Turnpike, where the police discovered that the vehicle's potato sacks contained
bottles of bootleg whiskey. To evoke the free-wheeling Fitzgerald lifestyle, the museum has recreated a Jazz Age party
with period furnishings and mannequins in a setting loosely based on the Fitzgeralds' living room.
Zelda began painting when she was 25; her work appeared in several exhibitions throughout her life, but received
little attention. Her paintings in the show range from depictions of life of the 1920's to ones with religious themes,
created in the 1940's. She died in 1948.
43
''Her pictures don't necessarily fit into the category of impressionism or realism but somewhere in between, both real
and dream-like,'' said Joshua Ruff, the museum's history curator. ''She had a wonderful sense of color, these lush
tones of coral, pink and blue that really tie in with the colorful clothing styles of the Jazz Age.''
While in Great Neck, Zelda and Scott grew especially close to the Lardner family. ''Their friendship with Ring Lardner
and his family was very stimulating and exciting for them,'' said Nancy Milford, author of the 1970 biography ''Zelda,''
in a telephone interview. ''It also, I'd have to say, led to a great deal of drinking.''
These high-living antics could often be disconcerting for Zelda, said Sally Cline, author of ''Zelda Fitzgerald: Her Voice
in Paradise,'' published this year. ''She was a bit overwhelmed by the huge hordes of people she entertained,'' Ms.
Cline said. ''It was both quite exciting and quite tense-making.''
When the Fitzgeralds left Great Neck for Europe in 1924, Zelda began to pursue her own creative careers more
diligently. She studied painting in Capri in 1925; her husband had just written ''The Great Gatsby,'' set in a
fictionalized Great Neck.
Two years later, back in the United States, Zelda began intensive training in ballet. Her interest in dance would
eventually have an influence on her artwork. ''The figures in her paintings truly leap and move,'' Ms. Milford said.
''And there's this elongation of the feet and hands that brings to mind the way muscles are used in dancing.''
In 1930, Zelda suffered her first breakdown. Diagnosed as schizophrenic, she underwent treatment in a series of
mental institutions for the next 18 years. She wrote her only novel, ''Save Me the Waltz,'' while a patient at the Henry
Phipps Psychiatric Clinic in Baltimore in 1932, but painting became her foremost pursuit.
''Her painting at this time was very useful to her as an artist because she was able to try new techniques, and very
helpful in boosting her low self-esteem because she was able to work at something she was good at,'' Ms. Cline said.
September 1, 1996
44
January 12, 2001
CRITIC'S NOTEBOOK
CRITIC'S NOTEBOOK; The Endless Infatuation With Getting
'Gatsby' Right
By CARYN JAMES
AFTER Ernest Hemingway saw the first dramatization of ''The Great Gatsby'' -- a Broadway version that
arrived in 1926, just a year after F. Scott Fitzgerald's novel -- he groused in a letter to a friend: ''I had to
pay to get in. Would have paid to get out a couple of times but on the whole it is a good play.''
Getting the whole thing right is the tricky part with any adaptation of ''Gatsby,'' from the earliest through
the best-known, the 1974 film with Robert Redford's underrated portrayal. Each has brought one or two
characters to life and left us with many moments we would happily pay to escape.
In the newest version (on A&E Sunday night at 8), Paul Rudd is a brilliant Nick Carraway, Gatsby's friend
and the novel's modest narrator. Through Nick's eyes and Mr. Rudd's lucid voice-over, the glamorous,
enticing enigma who is Gatsby gradually takes shape. At first he is merely Nick's rich, mysterious
neighbor in the mansion next door. Eventually we come to know, as Nick does, of his persistent longing
for a woman from his past, the now-married Daisy Buchanan. Gatsby, who stares across the bay at a green
light on Daisy's dock, is full of grand romantic illusions that must lead to a tragic end.
But from the minute this film's Gatsby walks into his own elaborate party, it's all over. Toby Stephens's
Gatsby is so rough around the edges, so patently an up-from-the-street poseur that no one could fall for
his stories for a second. Rumors may swirl that Gatsby didn't really go to Oxford or that his wealth came
from bootlegging. But the possibilities of Oxford and an inheritance have to exist. Instead, Mr. Stephens's
blunt performance turns Gatsby's entrancing smile into a suspicious smirk.
In giving us an already diminished Gatsby, this uneven, flat-footed production does what television so
often does with a literary work, spelling things out until they are moronically accessible. Yet the failure of
this ''Gatsby'' echoes with the sound of those other partly successful versions. Through the years, the
work's colorful surface has been irresistible to dramatists, while the ineffable sense of wonder that
surrounds Gatsby himself has made the novel almost impossible to translate to another form.
The presence of a cluster of recent Fitzgerald material suggests how widely and persistently he and
''Gatsby'' have infiltrated the American imagination. In addition to the A&E version, there is last year's
opera by John Harbison. And in the last few months the literary industry has brought out ''Trimalchio: An
Early Version of 'The Great Gatsby' '' and a Library of America volume of Fitzgerald's earliest, pre''Gatsby'' novels and stories.
Only a few of those tales, including ''The Diamond as Big as the Ritz,'' are among his best, but the titles of
the early Fitzgerald volumes in which they appeared -- ''Flappers and Philosophers'' and ''Tales of the Jazz
Age'' -- reveal how firmly he helped define the aura of the 1920's. The images quickly became cliches. In
his pages, women bobbed their hair and smoked cigarettes; in life Scott and Zelda famously jumped into
fountains.
Those popular images do not reveal the soul of Fitzgerald's fiction, though. They veer toward the lurid,
Prohibition-era ambience of ''The Wild Party,'' Joseph Moncure March's 1928 verse about lowlife love and
murder. Last year's two failed theatrical versions of ''The Wild Party'' hint at the allure of the era and the
difficulty of translating it. Drama can't live by flapper dresses alone.
And ''Gatsby'' is even harder to transform because it is so purely literary. It, too, includes love and murder,
but it is built on emotions and dreams that take shape through language, with a Keatsian sense of loss that
becomes more exquisite and heartbreaking with each reading.
45
''The novel is a wonder,'' Fitzgerald's editor, Maxwell Perkins, wrote to him, perhaps unconsciously
picking up one of the book's most resonant words. At the end, Nick contemplates how the New World of
America and the dreams it embodied must have seemed to an early explorer: ''commensurate to his
capacity for wonder.''
It is that sense of wondrous illusion that makes the novel so alluring and romantic and that is desperately
missing from the A&E version. The new ''Gatsby'' is as colorful and easy to watch as the novel is easy to
read, and as forgettable as a high school essay. Robert Markowitz's direction is workmanlike; no poetry
there. Even Gatsby's parties (shot in Montreal) seem sparsely populated, as if the production couldn't
afford a few more dancing extras to fill out the scenes.
Mira Sorvino captures Daisy's seductiveness; she flirts with everyone she sees. Yet Ms. Sorvino assumes a
baby-doll voice that is too reminiscent of her portrayal of Marilyn Monroe in ''Norma Jean and Marilyn,''
and her smooth, flowing blond hair looks too contemporary to be convincing.
Martin Donovan does far better, bringing fresh energy and realism to her brutish husband, Tom, so often
seen as a stock villain. Together he and Ms. Sorvino capture something rare: the sense that Tom amd
Daisy are two of a kind, in cahoots forever despite his affair with the working-class Myrtle Wilson
(Heather Goldenhersh, believably garish) and Daisy and Gatsby's role in Myrtle's death.
The film might have survived its pedestrian style, but it can't survive a leaden Gatsby. Trying to sort out
his character, Nick sees him (as he does in the novel) as ''an elegant young roughneck'' whose ''elaborate
formality of speech just missed being absurd.'' But Mr. Stephens's reductive portrayal tosses aside the
character's elegance and forgets that Gatsby does miss being absurd, by however much of a hairbreadth.
''Elegant young roughneck'' is one of the phrases Fitzgerald added when he revised ''Trimalchio'' and
turned it into ''The Great Gatsby.'' He was never entirely convinced that the new title, which his publishers
preferred, was an improvement. He liked ''Trimalchio in West Egg,'' even though that would have called
for the dust jacket to explain who Trimalchio was. (A character from Petronius's ''Satyricon,'' he gave
lavish parties for degenerates, and Gatsby is explicitly compared to him. West Egg, of course, is where
Gatsby lived.) Fitzgerald also considered calling his book ''Under the Red White and Blue,'' but in the end
wisely shied away from anything that blunt.
Of interest mostly to scholars, ''Trimalchio'' is not radically different from ''Gatsby.'' The later version
includes a few major structural changes (most of Gatsby's history is moved to the middle of the book
rather than the end) and rewordings. What the changes reveal is that the language of ''Gatsby,'' which
seems so effortless and graceful, was wrought from perfectionism.
That poetic language has been borrowed by every adapter, with passages frequently transferred to
different characters, as they are in the Harbison opera. Mr. Harbison's ambitious work is often eloquent,
stirring and sad. There is logic in turning ''Gatsby'' into an opera; after all, Gatsby says of Daisy's lyrical
voice that it ''sounds like money.'' And in the faux pop tunes that punctuate the opera and simulate songs
of the era, the carefree Jazz Age rhythms point toward the ''vast carelessness,'' as Nick so perfectly
describes it, of Tom and Daisy.
Yet by dispensing with Nick as narrator, the opera has Gatsby articulate his own vision, explaining
himself. Here Gatsby looks at Daisy's dock and sings of ''the green light that haunts my dreams.'' Later he
sings, ''I had to invent myself.'' The opera's self-consciously idealistic Gatsby goes in the opposite direction
from A&E's thuggish depiction, yet dispels the wonder surrounding him just as surely.
By capturing that sense of shimmering illusion, Mr. Redford created an iconic Gatsby who casts a long
shadow over all others. Mysterious, full of passion and glorious dreams, his Gatsby is one element that the
otherwise meandering film gets totally right. (The other is Sam Waterston's modulated, judicious
performance as Nick.)
46
The film introduces Gatsby as an enigma. Nick spots a figure in the distance, his face obscured by
shadows; in our second view, Gatsby's back is turned to us as he gazes toward Daisy's house. We know all
along, of course, that he is Robert Redford. This Gatsby borrows Mr. Redford's golden-boy, movie-star
luster just as the novel's Gatsby borrows Fitzgerald's Jazz Age glamour. Whatever works. Mr. Stephens's
demystified Gatsby first appears in flashback, as the modest soldier Daisy once knew; that doesn't work at
all.
The Redford portrayal has been criticized as being too stiff, but Gatsby is meant to be opaque, at least
initially. As Nick uncovers the layers of his character, the performance warms up and captures the
emotion behind Gatsby's dreams and disillusionment. When Daisy (Mia Farrow, in the film's truly chilly
performance) says she once loved Tom yet loved Gatsby, too, Mr. Redford expresses all of Gatsby's pained
bafflement: ''You loved me too?''
The director, Jack Clayton, took a picturesque approach to a perfectly serviceable script dashed off by
Francis Ford Coppola (who sandwiched it between directing ''The Godfather'' and ''The Conversation''),
and ended up with a two-and-a-half-hour film stuffed with cliched flappers dancing the Charleston. Yet in
the center is the definitive Gatsby, a golden presence whose dreams cannot endure.
While working on the novel, Fitzgerald explained what he was about: ''That's the whole burden of this
novel -- the loss of those illusions that give such color to the world so that you don't care whether things
are true or false as long as they partake of the magical glory.'' For dramatists, getting ''Gatsby'' whole, in
all its glory, may be the most elusive dream of all.
Among the Efforts
The works discussed in Caryn James's critic's notebook article on adaptations of ''The Great Gatsby'':
ON TELEVISION: ''The Great Gatsby,'' A&E, Sunday at 8 p.m. Directed by Robert Markowitz, written by
John J. McLaughlin. With: Mira Sorvino, Toby Stephens, Paul Rudd, Martin Donovan, Heather
Goldenhersh and Matt Malloy.
ON VIDEO: ''The Great Gatsby'' (1974). Directed by Jack Clayton, written by Francis Ford Coppola. With:
Robert Redford, Mia Farrow, Sam Waterston, Karen Black, Bruce Dern, Scott Wilson, Lois Chiles.
Paramount Home Video. $14.95.
IN PRINT: ''Trimalchio: An Early Version of 'The Great Gatsby,' '' by F. Scott Fitzgerald. Edited by James
L. W. West III (Cambridge University Press, $39.95).
''Novels and Stories 1920-1922,'' by F. Scott Fitzgerald (Library of America, $35).
IN PERFORMANCE: ''The Great Gatsby.'' Music and libretto by John Harbison. Scheduled to return to
the Metropolitan Opera in April 2002.
Photos: ''The Great Gatsby'': Toby Stephens, left, plays Jay Gatsby on A&E; inset, Robert Redford as
Gatsby with Mia Farrow in the 1974 film. (A&E; inset, Odyssey Network Television)(pg. E1); At left, Paul
Rudd as Nick and Mira Sorvino as Daisy on A&E, and Dawn Upshaw as Daisy and Jerry Hadley as Gatsby
at the Met. (Sara Krulwich/The New York Times); (Julie D'Amour-Leger/A&E)(pg. E42)
47
September 28, 1997
For Writers, Plenty of Inspiration
By JAMES BARRON
SURE, Walt Whitman sang a song of himself. But he also sang a song of Long Island -- of trying to find
dinner on a weekend in the Hamptons without a reservation, of being mesmerized by the swells at
Montauk. (He was, of course, describing the thundering Atlantic Ocean, not his beachgoing companions.
No punster, Whitman.)
Whitman is not alone in singing such a song. In novel after novel, in page-turners for and about the welltanned social set, in literary classics, in unpublished manuscripts -- from authors who wrote their words
with stubby pencils to those who pounded them out on old typewriters with faded ribbons to those who
tap them out on personal computers -- Long Island has been accorded a somewhat unusual place in
American fiction.
Is there any other region in the country that could serve as a setting for best-sellers as different as ''The
Great Gatsby,'' ''Jaws'' and ''The Amityville Horror'' -- or that could provide a workplace for authors as
different as Sinclair Lewis (who wrote his first novel in Port Washington) or Wilfred Sheed (who lives in
Sag Harbor)?
Indeed, as the 20th century closes, Long Island seems to have disproved Shane Leslie, the Anglo-Irish
author whom F. Scott Fitzgerald idolized at the beginning of the century. ''Long Island cannot have an
epic,'' he said, ''because its inhabitants are not sagalike or heroic, only locusts and fireflies that float in an
ephemeral radiancy.''
If only Leslie had lived to read Nelson de Mille's ''Gold Coast'' (about how life changes for a WASP-ish
lawyer when a Mafia don moves into the mansion next door). Or this summer's ''Plum Island'' (about the
search for treasure on the little island out beyond the twin prongs of Long Island where the Government
does disease research). Or Susan Issacs's ''Compromising Positions,'' the 1976 best-seller that made a
name for this self-described suburban housewife. Or James Brady's recent ''Further Lane,'' which revolves
around the murder of a Martha Stewart-like doyenne of home decor and the celebrity-driven whirl of the
Hamptons.
For many authors, Long Island provides a background against which plots can be woven and characters
developed. Ms. Isaacs's first novel, for example, was rejected because publishers felt there were too many
Long Island references.
Mr. De Mille -- who described the appeal of Long Island as ''the amount of diversity on a landmass so
small'' -- said that he too had fended off editors who resisted the idea of setting a novel on the Island.
48
His first Long Island book, ''The Talbot Odyssey,'' which revolves around a Soviet spy nest on a North
Shore estate, drew no such objections. ''I got that past the editors because it was the Cold War, the end-ofthe-world scenario, the Russians,'' he said. ''It happened to be set on Long Island.''
But the red flags went up for ''The Gold Coast.''
''This was the one the editors balked at,'' he said. ''They said they didn't want me to get a reputation as a
regional writer. I had to remind them that 'Gatsby' had international appeal. It doesn't matter where the
story is set. It's the people who populate it. But the place is a part of it. I couldn't have written 'Gold Coast'
and set it in Utah. With Long Island you have an area here that's got everybody from Mafia dons to the
very oldest families to the Levittowns. And hovering over the whole thing, you have the skyline of
Manhattan.''
Being close to Manhattan also means being close to the publishing industry, and a generation ago -before computers and modems -- proximity mattered.
'' My father was in advertising,'' said Barbara Kelly, director of Special Collections at Hofstra University.
''Many of his colleagues on the creative end had graduated from college with the goal of writing the Great
American Novel and found you could make your money writing text for Palmolive soap, and they all lived
within commuting distance of New York, which meant their environment was Long Island.''
In other words, Long Island gained its foothold in the literary world because it was a convenient haven for
displaced Manhattanites. ''What you're looking at with Long Island is Manhattan writ comfortable,'' she
said. ''It is almost as far to get to Manhattan from someplace from Great Neck as it would be to get to
Manhattan from, say, the Bronx, but one could live in a semirural setting in the 1920's and '30's, and a lot
of writers liked the idea of living in a place where they could go and get away from the madding crowd and
do their writing. It was what the suburban lifestyle was about, the ability to be close by and yet get away
from it all and do your writing.''
That sounds suspiciously similar to what Fitzgerald said 75 years ago when he and his wife, Zelda, rented
a house in Great Neck Estates. Things had a way of not working out the way Fitzgerald intended, and the
Fitzgeralds' life in Great Neck was a boozy series of distractions, one long party after another. Zelda
Fitzgerald is said to have called the fire department one night. The firefighters arrived and knocked on the
door. Zelda opened it. The firefighters saw no flames, only a party going on. Where is the fire, they asked.
Zelda is said to have placed her hand on her heart and declared, ''Here.''
49
April 24, 1960
Gatsby, 35 Years Later
By ARTHUR MIZENER
he Great Gatsby" is thirty-five years old this spring. It is probably safe now to say that it is a classic of
twentieth-century American fiction. There are three editions of it in print, and its text has become a subject
of concern to professional bibliographers. It has not always been so, nor has "Gatsby" always sold at the rate
of 50,000 copies a year, as it did last year. In 1937, when Fitzgerald wanted to give Miss Sheilah Graham copies of
his books, they went from bookstore to bookstore only to be told again and again that there were no copies of any of
them in stock.
There is a special irony in the belated fame of "Gatsby" because Fitzgerald was a man like Gatsby himself, at least
in this, that he had a heroic dream of the possibilities of life and a need, amounting almost to a sense of duty, to
realize that dream. If the world was for him, as it was for Gatsby, "material without being real" unless he could live
with that dream, the dream was a mere self-indulgence unless he could realize it in the actual world.
As one of his friends said when his work became popular again in the early Fifties, "How Scott would have loved to
know that people admired and cared for his books!" He could have, and not out of vanity, but because his sense of
achievement, his very sense of identity, depended on recognition.
Like so many of the feelings that went deepest with him, this one came out most clearly in the wry jokes and
drunken extravagances of his defeated years. About the time he was discovering that the bookstores no longer
carried his books, he wrote himself a postal card. It said: "Dear Scott - How are you? Have been meaning to come in
and see you. I have [been] living at the Garden of Allah. Yours, Scott Fitzgerald." And whenever he was drunk, he
would insist on telling people who he was and pressing them to recognize him - "I'm F. Scott Fitzgerald. You've
read my books. You've read "The Great Gatsby," haven't you? Remember?"
With all the terrible irony of the original speaker, he could have said, "Tis better to be vile than vile esteemed, When
not to be receives reproach of being." And indeed, he did say it, in "Pasting It Together." "If you were dying of
starvation outside my window," he wrote there, "I would give you the smile and the voice (if no longer the hand)
and stick around till somebody raised a nickel to phone for the ambulance, that is if I thought there would be any
copy in it for me."
But when , a little later, he summoned up once again his whole sense of life for his last hero - Monroe Stahr, the
producer in "The Last Tycoon" - he imagined a man who, though dying, fought to control a whole industry in order
that he might create something that was both good and popular. Stahr is deceived about nothing. When a British
novelist he has hired to write scripts says, "It's this mass production," Stahr answers, "That's the condition. There's
always some lousy condition." Like Stahr, Fitzgerald always tried to make his work as good as he knew how to, and,
like him, he could not believe in the reality of an unrecognized good.
Since this was his sense of things, there was a special irony for Fitzgerald in the reception of "The Great Gatsby." It
was an immediate success with professional writers and that curious underground of serious readers in America who
have, almost alone, kept many good books alive when the reviewers and the popular audience have ignored them, as
they did "Gatsby." At its publication they thought it skillful light fiction. For the next twenty-five years, on the rare
occasions when it was discussed, it was considered a nostalgic period piece with "the sadness and the remote
jauntiness of a Gershwin tune," as Peter Quennell said in 1941.
For a man with Fitzgerald's almost renaissance fooling that "if our-virtues/ Did not go forth of us, 'twere all alike/ As
if we had them not," this reception was unfortunate. Indeed, because he had staked on "Gatsby" his hope of the only
life he really cared for, the life of a serious writer, it was disastrous. He made later efforts to achieve that life, but in
a very real sense he lost his faith in its possibility for good with "Gatsby's" failure to achieve recognition.
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He had begun to plan the novel in June, 1923, saying to Maxwell Perkins, "I want to write something new something extraordinary and beautiful and simple and intricately patterned.' But that summer and fall was devoted to
the production of his play, "The Vegetable." When it failed miserably he discovered he had many debts and had to
spend the winter of 192 working night and day on magazine stories to pay them. The stories were, he said, "all trash
and it nearly broke my heart."
It was not until April, 1924, that he could write in his Ledger, "Out of woods at last and starting novel." But very
little of it - not more than the first chapter - was on paper before he was interrupted again when he and Zelda decided
to move to the Riviera, where a serious crisis in their personal relations developed. By August, however, he was
back at work, not to be interrupted again until he sent the manuscript to Maxwell Perkins on October 30.
The exhausting and valueless work of the previous winter, together with his lifelong anxiety about loss of time,
sharpened Fitzgerald's feeling that "Gatsby" was the supreme test. He committed all his imaginative resources to it,
and despite his anxious joking about it between its completion and publication he clearly knew it was a good book.
The question was whether it would be recognized for what it was. "Write me the opinion you may be pleased to
form of my chef-d'oeuvre and others' opinion," he said to John Peale Bishop. "Please! I think it's great because it
deals with much debauched materials, quick-deciders like Rascoe may mistake it for Chambers."
Up to the very last possible moment he was busy rushing revisions to Scribner's, including an extensive rewriting of
Chapter VI, in which Daisy and Tom Buchanan come to Gatsby's party, and an entirely new version of Chapter VII,
which describes the crucial quarrel at the Plaza between Gatsby and Tom. At the same time he refused an off of
$10,000 for the serial rights in order not to delay the book's publication.
By publication day - April 10, 1925 - he was almost beside himself, and within twenty-four hours he was cabling
Perkins, ludicrously and touchingly, "Any news?" When the news did come, it was far from what he had hoped for.
Good readers, to be sure, saw how fine a book "Gatsby" was, and it meant a great deal to him to get perceptive
letters of praise form writers life T. S. Eliot, Edith Wharton and Willa Cather. But this was after all private opinion,
and much as he treasured it, what Fitzgerald needed was the public recognition of reviewers and readers.
What really shook him was "that of all the reviews, even the most enthusiastic, not one had the slightest idea what
the book was about." They found in it only the bright but trivial talent they had seen in his earlier books. "Gatsby"
was they said, "clever and brilliantly surfaced but not the work of a wise and mature novelist"; it was "a little slack,
a little soft, more than a little artificial, [falling] into the class of negligible novels." Mencken said that it was
"certainly not to be put on the same shelf with, say, "This Side of Paradise," and Isabel Paterson that "what has never
been alive cannot very well go on living; so this is a book for the season only."
Nor did the sales of "Gatsby" suggest any general recognition of its nature: by October, when the original sale had
run its course, it was still short of 20,000. In 1926 Owen Davis' dramatic version had a successful run in New York,
and in the same year Paramount issued a sentimentalized movie. Both brought Fitzgerald money that he needed, but
they did not bring him what he needed more, the kind of recognition that would make real for him the serious
novelist he dreamed of becoming.
In the last year of his life he wrote his daughter, "I wish now I'd never relaxed or looked back - but said at the end of
'The Great Gatsby': I've found my line - from now on this comes first. This is my immediate duty - without this I am
nothing.'" But though without this he was, in his own eyes, almost literally nothing, this is to blame himself for not
having acted in a way that, given his nature, was not really possible for him.
For at least a decade after the publication of "Gatsby" the reviewers' estimate continued to be the public opinion of it
- if it was thought of at all, as it usually was not. In 1933 Matthew Josephson, in an article on "The Younger
Novelists," was pointing an admonitory finger at Fitzgerald and urging him to recognize that "there are ever so many
Americans who can't drink champagne from morning to night, or even go to Princeton or Montparnasse" - as if
Fitzgerald had not shown in "Gatsby" the deep and meretricious tragedy of their longing to.
51
A year or so later Harry Hartwick was describing his work as the kind "in which sensuality becomes half flippant
and half sentimental and plays the youthful ape to sophistication," a remark that must - if Fitzgerald ever saw it have reminded him ironically of what he believed to be "Gatsby's" one great defect, its failure to represent the
relation between Daisy and Gatsby, a failure he admitted was the result of his own unwillingness to face the
"sensuality" of the only relation that was possible for them. In 1934 "Gatsby" was introduced into The Modern
Library, but it was dropped in 1939 because it failed to see.
All through this time, however, the book kept its underground audience. "'The Great Gatsby,'" says J. D. Salinger's
Buddy Glass, "was my 'Tom Sawyer' when I was twelve." (Like Salinger himself, Buddy was twelve in 1931.)
Writers like John O'Hara were showing its influence and younger men like Edward Newhouse and Budd Schulberg,
who would presently be deeply affected by it, were discovering it. And to their eternal credit, Scriber's kept it 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.
By the late Thirties faint echoes of this underground option were being heard on the surface. In 1935, T. S.
Matthews, reviewing "Taps at Reveilly" for The New Republic, was saying, "there seems to be a feeling abroad that
it would be kinder not to take any critical notice of the goings-on of Fitzgerald [the short-story writer], since his
better half [the novelist] is such a superior person but there is no real difference." A little later Herbert Mueller
observed with remarkable inconsistency that, though "Gatsby" was "tinged with the flippancy, the hard-boiled
sentimentality, and cock-eyed idealism of [its] period," it was "on the whole honestly, soberly, brilliantly done."
This was about the state of opinion when Fitzgerald's death late in 1940 and the republication of "Gatsby" in
Edmund Wilson's edition of "The Last "Tycoon" in 1941 produced an outburst of comment. Most of it agreed with
the judgement, if not the reasoning, of Margaret Marshall, who observed in The Nation that Fitzgerald had been a
failure, apparently because he could not survive the world's discovery that "the October Revolution was nothing but
a heap of Stalinish cinders," but that "Gatsby" was "enduring." But the voices of those who had always admired
"Gatsby" were getting louder.
The New Yorker's "Talk of the Town" had a devastating comment on the ill-informed obituaries in the New York
papers, and The New Republic papers, and The New Republic - then under Malcolm Cowley's literary editorship put together a group of wholly serious tributes to Fitzgerald from writers as diverse as Glenway Wescott and Budd
Schulberg. As late as 1944, when Charles Weir published the first full-length article on Fitzgerald, the two
judgments of his work were still just about in balance. But by 1945 the opinion that "Gatsby" was merely a period
piece had almost entirely disappeared.
In that year New Directions published Edmund Wilson's edition of "The Crack-UP," and a new edition of "Gatsby,"
with an introduction by Lionel Trilling which quietly asserted that "Fitzgerald is now beginning to take his place in
out literary tradition." In that year, too, "Gatsby" was reprinted in The Viking Portable Fitzgerald and in Bantam
Books. There were still faint echoes of the old attitude in the slick magazines. Time continued to suppose that in
"Gatsby" Fitzgerald was "portraying the hollowness of his racketeering hero's life," and Newsweek that "Fitzgerald
evaded almost every issue of his time." But most reviewers were now taking the importance of "Gatsby' for granted
and trying to explain it.
Malcolm Cowley wrote a brilliant article for The New Yorker, and William Troy pointed out that Gatsby is "one of
the few truly mythological creations in out culture." By 1946 full-length articles were developing this view in the
Kenyon and Sewanee reviews, though it is amusing to notice that the final evidence of a book's acceptance as a
classic - a rash of M. A. and Ph. D. essays about it - did not begin until after 1951, the year that two full-length
books (three if one counts Mr. Schulberg's "The Disenchanted") were devoted to Fitzgerald.
Now ten years later, the obvious values of the book have been reasonably established, and we are ready to consider
the qualities which, though more difficult to deal with, are probably quite as important. One is the book's realization
of the fluidity of American lives, the perception being Tom Buchanan's wistful drifting here and there, "wherever
people played polo and were rich together, ' in Wolfsheim's sentimental longings for the old Metropole, in Nick
52
Carroway's wry feeling that Tom and Daisy were two old friends I scarcely knew at all," in Gatsby's whole career.
Another is the book's voice, "more important," as Lionel Trilling has said, "than [its] shape or its wit of metaphor."
Almost for the first time Fitzgerald created with that voice an image of The Good American of our time in all his
complexity of human sympathy, firm moral judgment and ironic self-possession. We can now afford to turn our
attention to such things - because, whatever disagreements we may have over Fitzgerald's work as a whole, there
remain few doubts of the greatness of "Gatsby" or of its imaginative relevance to American experience.
53
October 10, 2004
APPEARANCES
Jingo Belle
By MARY TANNEN
ow that the daughters of presidential candidates pose for fashion magazines, it is time to ask:
who is the American Beauty? She is one of those memes that float in the national
consciousness. At the turn of the last century, she was Isabel Archer in ''The Portrait of a Lady,''
wielding oars on the Thames for her debilitated Europeanized cousin Ralph Touchett. This
''rustling, quickly-moving, clear-voiced heroine'' is much admired for her intellect and spirit.
''Like the mass of American girls, Isabel had been encouraged to express herself; her remarks
had been attended to; she had been expected to have emotions and opinions.'' In the 1920's she
reappears as Daisy Buchanan in ''The Great Gatsby'': ''The exhilarating ripple of her voice was a
wild tonic in the rain.''
What a coup for a new cosmetic brand to fish out this glittering coin of the realm and adopt it for
a name. Beginning in October, American Beauty will refer to a skin-care and makeup line sold
exclusively in Kohl's, a fast-growing chain of department stores that are popping up across the
country. The light blue, silver and white jars and compacts are exactly what Isabel Archer would
have packed to go to England, if nice girls wore makeup then. The items are reasonably priced
and easy to wear, because our heroine never tries too hard.
But if American Beauty is the coin of the realm, it is also much fingered. Google it and you will
find pages devoted to the 1999 movie starring Kevin Spacey and Annette Bening, a tale of sex,
drugs and depravity set in a town as neat and bright as a roll of LifeSavers. The title is mocked,
twisted and flipped -- referring to roses in the yard, a teenage sex pistol and the transcendent
state of the hero just as he is blown to bits by a homophobic neighbor.
Scrolling on past references to the Grateful Dead album of the same name, you finally come to
Ashley Judd, lately starring in ''De-Lovely,'' who will embody the new American Beauty line.
There is a picture of Judd, in a gown that makes the most of her bosomy pulchritude, posing arm
in arm with William Lauder, grandson of Estee and now C.E.O. of the entire empire she
founded. Lauder, his arm full of warm girl, adopts a military bearing, as if not quite certain what
to do with this prize he has landed.
Since the Estee Lauder Companies -- a global operation with revenues for fiscal year 2004 of
$5.8 billion -- is the force behind this new venture, you know it is not a whimsical undertaking.
American Beauty is part of BeautyBank, a new division with the mission to respond speedily to
trends. Jane Hudis, the senior vice president and general manager, and her team came up with the
name and concept in March 2002. They immediately tested their ideas with Kohl's customers in
various states, quizzing them about everything from the color of the box (they loved blue, hated
pink) to the celebrity who would represent the line. (Everyone loved Ashley Judd.)
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Development extended from 2002 to 2003, when the nation was feeling besieged by foreign
fanatics and betrayed by former friends. In the lacerated light of September 2001, ''American
Beauty'' was no longer a term to be trifled with. Promotional copy lists Ashley Judd's pedigree -''an eighth-generation eastern Kentuckian'' -- before her screen credits. It also invokes the
goddesses ''Katharine,'' ''Jackie'' and ''Grace.''
But not Marilyn, who after all was beautiful and American. It seems there are unspoken yet wellunderstood criteria for getting into this club.
You do not have to be a card-carrying member of the Daughters of the American Revolution,
which would be counter to the American dream that promises the poor immigrant the chance to
become anything she desires, up to president of the United States -- sorry, Arnold. Even our
image of the American Beauty -- great cheekbones and long legs posed on green lawn sloping to
water, sailboat or Thoroughbred tethered nearby -- probably owes more to Ralph Lauren
(formerly Ralph Lifshitz from the Bronx) than it does to Henry James or F. Scott Fitzgerald.
The boat and the horse are emblems of athleticism, and athleticism is the manifestation of inner
strength. The requirement of moral muscle is a hand-me-down from another archetype, the
Frontier Wife, who leaves her civilized past behind to forge a home in the wilderness.
That the American Beauty is fresh, clean and without artifice is a given. However, she is not to
be confused with the Girl Next Door, who later matured into the Soccer Mom. The American
Beauty is sexy; she can drive men wild, although that is not her intent. It is the courage of her
intellect that attracts, her willingness to ignore boundaries. Isabel Archer rejects two suitable
suitors and marries for an idea. Daisy Buchanan falls in love with the bootlegger. (Unfortunately,
for these American beauties, independent thinking leads to doom.)
When potential American Beauty customers were polled, they indicated that they wanted no-fuss
products that would help them look good without forcing them to labor over the process. They
implied that they had better things to do.
Perhaps they understand that beauty doesn't depend on getting the right lipstick shade. As Ralph
Touchett exclaims after meeting Cousin Isabel: ''It's her general air of being some one in
particular that strikes me. Who is this rare creature, and what is she?''
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April 14, 1992
OUR TOWNS
OUR TOWNS; Seeing Genius Between the Dashes
By Andrew H. Malcolm
SOUTH ORANGE, N.J.— FOR today's column, you'd best care about words, literary history, the
imperfect process of creative writing and editing, and something as minor as commas. It would be helpful
if you enjoy F. Scott Fitzgerald and "The Great Gatsby." But you needn't like italics. Fitzgerald hated -absolutely despised -- italics for emphasis; he wasn't keen on semicolons either. And Fitzgerald was
definitely not the best speler.
Matthew J. Bruccoli knows this. In fact, the Bronx-born professor of English at the University of South
Carolina (now there's a mix) likely knows Fitzgerald better than the author's famous editor, Maxwell
Perkins, did in the 1920's. Although Fitzgerald died 52 years ago (listening to Beethoven), his writing is
still being edited -- by Professor Bruccoli.
Long before literary squirreling was profitable, Fitzgerald saved everything -- letters, manuscripts, galley
proofs, revised proofs, re-revised proofs. Fitzgerald's editors were ever eager to pounce on missing
commas and periods -- and to delete dashes like this -- in "Gatsby." But somehow these eagle-eyed
centurions of style missed majors errors in chronology, typography and geography (the Queensboro
Bridge, for instance, does not end -- or begin -- in Astoria).
Princeton University's Fitzgerald Archive combined with incalculable legwork makes Professor Bruccoli a
literary archeologist, tracing the evolution of scenes, sentences, even typographical errors from birth to
print. Comparing each Fitzgerald draft and poring over correspondence, Professor Bruccoli has produced
what he calls the real "Great Gatsby," which Cambridge University Press recently published.
The 60-year-old editor will likely edit Fitzgerald until his own death. There are 16 more volumes to go.
Next spring comes "The Last Tycoon," finally published with Fitzgerald's title -- "The Love of the Last
Tycoon: A Western." In 1995 comes "Tender Is the Night," which Fitzgerald rewrote 17 times. Each
volume carries Professor Bruccoli's copious notes -- as lengthy as the actual text -- explaining historical
references, editing changes and uncaught errors. It is a priceless peek into the creative and publishing
process, which sometimes lets masterpieces slip through.
Professor Bruccoli, hot on the trail of 12 newly discovered archive folders, described his detective work to
a literary group here at Seton Hall University the other evening marking the publication anniversary of
"Gatsby." Sixty-seven years ago this week the book was a sales flop. The living Fitzgerald never had a best
seller. Today, "Gatsby" sells 300,000 copies a year, according to the crew-cut professor, who brooks no
Fitzgerald naysaying.
"If the phrase 'Great American Novel' means anything," he said, "it means 'The Great Gatsby.' " For
several reasons, he said, Fitzgerald is inadequately appreciated. One is Fitzgerald's abysmal public
relations. "Hemingway shoots endangered wildlife," says Professor Bruccoli, "and it's creative.
Hemingway gets divorced and it's art. The Fitzgerald groupies want to believe he only wrote while drunk,
dancing atop a table. Horseradish!"
All right, Fitzgerald was a creative speller -- yach, aparttment, ect. Yes, he had a prodigious thirst and a
marriage made in hell. And, O.K., this Minnesota native would refer to tides on Lake Superior, which has
none. But he was also a great craftsman, albeit a stylist who drove printers crazy. Fitzgerald regarded even
final galley proofs as a new chance to rewrite. Weeks before publication, he'd revise entire sections, his
neat handwriting filling every margin, baffling printers, who'd omit or misplace changes. Scott and Zelda,
wandering around Capri, wouldn't see the mistakes until the finished book, which Fitzgerald would again
rewrite in the margins. Such handwritten guidelines from the past are treasures for Professor Bruccoli,
who now catches himself rewriting extensively on galley proofs.
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Ten days before publication of "Gatsby," Fitzgerald, who hated the title, even tried to rewrite it to "Under
the Red, White and Blue." Too late.
Then there's the punctuation problem. Fitzgerald wrote for the ear. He'd read every line aloud. He hated
commas. Editors -- even those on newspapers today -- edit for the eye. They frown on dashes. They do like
commas -- absolutely love them -- believing commas are cheap and ease reading. In Gatsby's 48,852
words Professor Bruccoli found -- and restored -- more than 1,100 punctuation changes. (This paragraph
had no commas as written.)
"One hundred changes, O.K.," said the professor. "Two hundred, maybe. But 1,100 changes and you've
changed a writer's rhythm."
Even the editors of Fitzgerald's editor had problems; they wouldn't let him change Astoria to Long Island
City. So Professor Bruccoli pencils the correction into every copy he sees. "Editors are professional
second-guessers," grumps the editor.
"This text," adds Professor Bruccoli, pocketing his pocket watch, "is as close as I can get to what Fitzgerald
intended -- until I go to that Ritz Bar in the sky, sit down with him and say, 'Now, Scott, what else do you
want changed?' " Author's note: The editor's expletive has been edited for style. Drawing.
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June 18, 2006
LIVES
My Father, I Presume
By PAT JORDAN
Here's what I know about my father: I was his son. He died in April 2005.
Here's what I'm pretty sure I know: His name was Pat Jordan, or Patsy Jordan, or Pasquale Giordano. He was Italian,
a professional gambler and a con man. He left me no inheritance, except for three $100 bills that he pressed into my
hand the last time I saw him a few weeks before he died at 93, or 94, or 95.
Here's what I think I know: He was an orphan. He never knew his parents. I was the only blood relative he'd ever
really known.
Here's what I didn't want to know: He resented me all my life because the gifts I had, he said, I stole from him.
Here's what I don't know but wish I did: Did he like me?
My father was a handsome man. There was a sepia-tinted photograph of my father alongside one of my mother on
the wall of the small Connecticut apartment where they spent the last 40 years of their lives. My mother is 14, a
pretty child-woman with black hair, lush eyebrows, dark eyes, a big nose and dark skin. My father is 17, his sandycolored hair already receding from his forehead. He had blue eyes, a straight nose, a full, lower lip and pale skin. He
did not look Italian. He looked like a well-born WASP who had gone toHarvard or Yale or, as my father used to call
it, "Darthmouth," and then joined the family firm. But at first, like Jay Gatsby, he didn't get the look quite right. He
wore a flashy, cream-colored jacket and a silk foulard with a diamond-encrusted stick pin. He was a dandy until his
mid-20's, when he affected a manner of dress that never wavered in the 65 years I knew him. Oxford cloth, buttondown collared shirt. Regimentally striped tie (no stickpin now). Navy wool blazer with brass buttons. Charcoal gray
flannel slacks, even in summer. Oxblood, wing-tipped cordovan shoes. His gambling cronies called him Ivy League.
"My con," he called it. "The suckers bought it."
My father loved his con. Even with me. Which is why I never knew if the details of his life that were passed down to
me by him, my mother and my much-older half-brother were true, or half-true, or false. At the time, I believed they
were true. The Geek in the carnival who accused my father, at 15, of flirting with his wife, the Bearded Lady. The
French Canadian with the hunting knife pressed against my father's throat. The old Mustache Pete smoking a
crooked Toscana cigar in front of a heavy, bolted door behind which my father shot craps with shaved dice. The
chance meeting at Saratoga Racetrack with Arnold Rothstein, who told my father, "It's not about winning or losing,
kid, it's about who walks away with the lettuce." The shylock with the baseball bat that he used on the knees of late
payers. His mother's plea, "Mi dispiace," and then, "Te amo," when he was 6 and she lay dying of tuberculosis on a
hospital bed, the only time he met her. Her name was Rose, he knew that, and she had loved him, and that was all he
would ever know.
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I believed these details of my father's life because they had the bright hardness of truth about them, as if perfectly
formed in an instant by the hand of God. But his life, as passed down to me, was no well-made novel with
expository transitions. It was a Raymond Carver short story. A thing happened. Time passed. Another thing
happened. There was never any attempt to explain the transitions of those things, the how and why of them.
It has begun to dawn on me that those perfect, isolated truths might have been manufactured, with gears and
sprockets and chains, like a machine whose only purpose was all its exquisitely moving parts. My father's con.
I visited him about a dozen times in the last 20 years or so of his life. He never aged before my eyes, partly because
he was already 40, fixed in his look, when I was still a child, and partly because he never really did seem to age. He
looked the same to me when I was a teenager, when I was a grown man, and even the last time I saw him, when I
was an old man myself, at 64, and he was in his 90's. There was a little bit more halt than I remembered, he was
more bent over, but the look was still the same. The Ivy League clothes. The bald head with the friar's tuft of
feathery, silver hair. The pale skin that had turned a baby's pink. The blue eyes, not so vivid now, not that startling
blue like Paul Newman's, but more opaque, an old man's gray blue eyes. Then he died.
Pat Jordan, a frequent contributor to the magazine, is writing a book about his father.
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Scott and Zelda: Their Style Lives
By ELEANOR LANAHAN
MY grandfather F. Scott Fitzgerald would have been 100 years old this month. But it's hard to imagine
him being anything but young. Somehow Americans will always picture him and my grandmother Zelda
as the footloose adventurers who rode down Fifth Avenue on the tops of taxicabs, danced on tables at the
Waldorf and took their famous plunge in the fountain at the Plaza or who partied in Paris.
Scott's instant success qualified him to define the Jazz Age, and Zelda, in particular, was one of the
earliest tabloid personalities. They enjoyed the kind of press attention that today is reserved for music or
movie stars. Their spirit has long since been incorporated into our national self-image. They gave us
license, as Americans, to have some fun. They symbolized zestful youth, and the country has deified youth
ever since. And they made celebrity, and our fascination with it, stylish.
They are an especially beloved pair because their story hinges so strongly on their great love for each
other. But I am confident that they would be surprised to see what a large and lasting influence they had
on popular culture in the 20th century. I know I am. They are a part of the language. A British journalist
recently informed me that the expression ''a Scott and Zelda'' refers to a close but rivalrous relationship
between two artists. ''Oh,'' one might say, ''they're having a Scott and Zelda.''
''Fitzgeraldian'' is now admissible as a crossword-puzzle clue. It is a broad adjective and can be applied to
the Roaring 20's, to zany authors, to Ivy League haberdashery, to excessive drinking, to extravagance or to
disillusionment.
I cannot think of a better one-word definition. In ''Echoes of the Jazz Age,'' Scott needed five words to
describe the 20's as ''a whole race going hedonistic.'' And Zelda, reviewing Scott's second novel, ''The
Beautiful and Damned,'' wrote a wonderful paragraph that inadvertently described the glamour and gaiety
of their lives: ''Everyone must buy this book for the following aesthetic reasons. First, because I know
where there is the cutest cloth-of-gold dress for only $300 in a store on 42d Street, and also if enough
people buy it, I know where there is a platinum ring with a complete circlet, and also if loads of people buy
it, my husband needs a new winter overcoat, although the one he has has done well enough for the last
three years.''
But my grandparents might be confused by what people nowadays know about them, or think they know
about them; their story has been merged so thoroughly with their own intensely autobiographical fiction.
And yet ''The Great Gatsby,'' the least autobiographical of Scott's works, is what informs much of the
Fitzgerald legend. Scott is generally imagined in a white suit. It is true that he purchased white flannel
with the proceeds of the sale of his first short story, ''The Debutante,'' but I have never seen a photograph
60
of him wearing it. That image is most likely drawn from his slightly gangster esque description of Gatsby
wearing a ''white flannel suit, silver shirt and gold-colored tie.''
At Princeton, Scott outfitted himself at Brooks Brothers. He was impeccably, aristocratically Ivy League.
When he answered the call to the colors in 1917, he stopped again at Brooks Brothers to fill out his
footlocker. In most of the early photographs I have seen, he is wearing a dark, finely tailored, three-piece
suit.
Gatsby and Scott, to different degrees, invented their lives. Scott's family in St. Paul had modest social
credentials and financial resources. By age 9, Scott, who was born on Sept. 24, 1896, wondered if there
hadn't been a mistake -- if he hadn't been a royal foundling, left in a basket on his parents' doorstep. He
had natural talent, good looks and an ease with people, but some aspects of his manner were consciously,
if not painstakingly, cultivated.
As for Zelda, when people describe a woman as looking like her nowadays, they might mean Mia Farrow,
who played Daisy in the Paramount production of ''The Great Gatsby,'' in layered chiffon and widebrimmed hats. But in April 1920, when my grandmother arrived in New York from Montgomery, Ala., to
become Mrs. F. Scott Fitzgerald, Scott enlisted a female friend to help her select a more cosmopolitan
wardrobe.
Zelda hardly needed his help -- of her own free will, I am sure, she abandoned her Southern bows and
frippery for the most sophisticated ornaments of the decade. Zelda stepped on the stage as the paradigm
of a flapper. But the 20's went by fast, perhaps too fast.
''The flapper!'' she wrote in 1925. ''She is growing old. She has come to none of the predicted 'bad ends,'
but has gone at last, where all good flappers go -- into the young married set, into boredom and gathering
conventions and the pleasure of having children, having lent a while a splendor and courageousness and
brightness to life, as all good flappers should.''
When my grandmother wrote that, my mother, Scottie, was 4.
I never knew my grandparents, though I am consoled that Zelda's last letter to my mother before she died
in a hospital fire in Asheville, N.C., in 1948, mentioned that she longed to see me, ''the new baby.'' But I
have been the secondhand beneficiary of Scott's pointed advice about style. At 19, he gave his 14-year-old
sister Annabel a list of instructions for being more popular.
''You are, as you know, not a good conversationalist,'' he began, and suggested a number of opening lines,
like, ''You've got the longest eyelashes.'' He informed her that ''boys like to talk about themselves -- much
more than girls.'' He advised her about carriage and poise: ''You smile on one side, which is absolutely
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wrong. Get before a mirror and practice a smile and get a good one, a radiant smile ought to be in the
facial vocabulary of every girl.''
After outlining his sister's bad points and good, he advised, ''Exercise would give you a healthier skin. You
should never rub cold cream into your face because you have a slight tendency to grow hairs on it. I'd find
out about this from some Dr. who'd tell you what you could use.''
If only Scott had been able to follow his friends' advice as easily as he dispensed it. By the end of the 20's,
many of Scott's expatriate companions in France were alarmed about his drinking. Scott's and Zelda's
lives had become a cautionary myth, and like Icarus, they were punished for flying too close to the sun.
Their difficulties satisfied Americans' puritan streak and enhanced the poignancy of how hard they
crashed. There are still questions that may never be put to rest: to what extent did Scott suppress Zelda's
talent by forcing her to cut episodes from her novel, ''Save Me the Waltz,'' that overlapped with material
he was using in his novel, ''Tender Is the Night''? To what extent did his drinking drive her crazy? To what
extent did she drive him to drink and bear responsibility for their financial calamities? And was there a
possible misdiagnosis of her schizophrenia?
Insistently as Scott tried to share in Zelda's therapy -- and there are many letters delineating his problem
and tendering advice -- he was clearly a part of her problem. His own tribulations -- a diminished
readership during the Great Depression, drinking and stupendous debts -- spilled over into his relations
with my mother. Scott redefined his heroines, and came to question the value of purely decorative women.
Zelda herself was becoming a serious artist. Perhaps it comes with middle age, but Scott's focus shifted
from the importance of perfecting one's charm to the importance of conserving one's emotional
equipment.
My grandfather endured a literary eclipse in his lifetime and, swamped with bills for his wife's care and
his daughter's education, barely scraped through financially. This was the age before Mastercard; he was
forced to borrow from his agent, editor and friends and was constantly trying to write himself out of debt.
Another aspect of his romantic image, and somewhat on a par with Van Gogh's ear, was that he was the
most renowned alcoholic who ever lived. I am sure many an extra martini has been downed in his
memory.
Even more than for their glamour, though, Scott and Zelda are celebrated for their accomplishments. That
is the part that impresses me most. Despite his excesses and troubles, Scott produced 5 novels and 160
short stories before his death in 1940 at 44. Zelda was a writer, a dancer and, in her last years, a dedicated
artist. Her dreamlike cityscapes of New York and Paris and fabulous paper dolls redeem any ''decorative
wife'' image I might have formed of her.
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Scott's writing still runs as pure as poetry threaded with spirituality, sensuality and sociology. He has
influenced many modern writers, but his unique grace cannot be counterfeited. I endorse the fairly
modest self-assessment he sent to my mother at Vassar College, and credit it most for the reason so many
people still read his books: ''I am not a great man, but sometimes I think the impersonal and objective
quality of my talent and the sacrifices of it, in pieces, to preserve its essential value has some sort of epic
grandeur.''
Photos: The Roaring 20's were a time to live fast. F. Scott and Zelda Fitzgerald with their daughter,
Scottie, in Italy. (United Press International) (pg. 47); The Fitzgeralds quickly became celebrities of the
Jazz Age. (pg. 50)
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May 8, 2009
What Happens to the American Dream in a Recession?
By KATHARINE Q. SEELYE
Given the battered economy, increasing joblessness and collapse of the housing market, what is the state of the
American dream?
Pollsters for The New York Times and CBS News set out last month to try to answer that question. And the
results seemed somewhat contradictory.
Although the nation has plunged into its deepest recession since the Great Depression, 72 percent of Americans in
this nationwide survey said they believed it is possible to start out poor in the United States, work hard and become
rich — a classic definition of the American dream.
And yet only 44 percent said they had actually achieved the American dream, although 31 percent said they expect
to attain it within their lifetime. Only 20 percent have given up on ever reaching it. Those 44 percent might not
sound like much, but it is an increase over the 32 percent who said they had achieved the American dream four years
ago, when the economy was in much better shape.
Compared with four years ago, fewer people now say they are better off than their parents were at their age or that
their children will be better off than they are.
So even though their economic outlook is worse, more people are saying they have either achieved the dream or
expect to do so.
What gives?
We asked Barry Glassner, who is a professor of sociology at the University of Southern California and studies
contemporary culture and beliefs.
“You want to hold on to your dream even more when times are hard,” he said. “And if you want to hold on to it,
then you better define it differently.”
In other words, people are shifting their definition of the American dream. And the poll — conducted on April 1 to 5
with 998 adults, with a margin of sampling error of plus or minus 3 percentage points— indicated just that.
The Times and CBS News asked this same open-ended question four years ago and again last month: “What does
the phrase ‘The American dream’ mean to you?”
Four years ago, 19 percent of those surveyed supplied answers that related to financial security and a steady job, and
20 percent gave answers that related to freedom and opportunity.
Now, fewer people are pegging their dream to material success and more are pegging it to abstract values. Those
citing financial security dropped to 11 percent, and those citing freedom and opportunity expanded to 27 percent.
Here’s some respondents’ answers that were put in the category of freedom and opportunity:
“Freedom to live our own life.”
“Created equal.”
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“Someone could start from nothing.”
“That everybody has a fair chance to succeed.”
“To become whatever I want to be.”
“To be healthy and have nice family and friends.”
“More like Huck Finn; escape to the unknown; follow your dreams.”
Those who responded in material terms were hardly lavish. Here’s a sampling:
“Basically, have a roof over your head and put food on the table.”
“Working at a secure job, being able to have a home and live as happily as you can not spending too much money.”
“Just financial stability.”
“Owning own home, having civil liberties.”
Mr. Glassner said, “For the vast majority of Americans at every point in history, the prospect of achieving the
American dream has been slim but the promise has been huge.”
“At its core, this notion that anyone can be president or anyone can be a billionaire is absurd,” he said. “A lot of
Americans work hard, but they don’t become president and they don’t become billionaires.”
Still, he said, Americans have always believed in possibilities. And they have consistently said over time that they
can start poor in this country and become rich, regardless of the economy or their circumstances. The 72 percent
who feel that way today is down from the 81 percent who felt that way in 2007, but 72 percent is still a very high
percentage, especially given the downward economy.
“It would be hard to find another country where it’s as high,” Mr. Glassner said.
The percentage of people who say the American dream does not exist or is only an illusion has remained low — 3
percent today and 2 percent four years ago. As one such person put it to our pollsters last month: “A bunch of
hooey.”
By the way, the phrase “the American dream” is generally agreed to have been coined first in 1931, in the midst of
the Depression. In his book, “The Epic of America,” the historian James Truslow Adams wrote, “It is not a dream of
motor cars and high wages merely, but a dream of social order in which each man and each woman shall be able to
attain the fullest stature of which they are innately capable.”
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August 31, 2006
ECONOMIC SCENE
When the Rich-Poor Gap Widens, ‘Gatsby’ Becomes a
Guidebook
By ROBERT H. FRANK
INTEREST in the lifestyles of the rich and famous varies with economic conditions. Just as
someone who is seven feet tall may seem almost normal at an N.B.A. practice session, the
purchases of the wealthy typically attract little notice when inequality is low and stable. But
when inequality is high and growing rapidly, luxury purchases are sometimes as hard to ignore
as a seven-foot ninth grader.
When “The Great Gatsby” was first published in 1925, income and wealth disparities were at
record levels. It is thus no mystery that F. Scott Fitzgerald’s tale of wealthy Americans during
the Jazz Age became an instant best seller.
Inequality diminished rapidly during the Great Depression and remained low until the 1970’s.
But since then, it has again been rising sharply. Today, disparities are once more at record levels,
which may help explain the resurgence of interest in Gatsby. Fitzgerald’s novel was recently
selected, for example, for common reading programs at Cornell and other universities, programs
in which students, faculty members, alumni and others on the staff are encouraged to read and
discuss the same book as the academic year begins.
With my last literature course, taken in high school, just a dim memory, I was naturally
apprehensive when Cornell administrators asked me to speak at the university’s Gatsby
convocation for incoming freshmen last week. In the process of preparing for that assignment,
however, I was delighted to discover the extent to which my economics training actually seemed
to illuminate important elements of the novel’s story line.
Consider, for example, the link between wealth and personal attractiveness. Everyone wants a
home in a safe neighborhood with good schools, but those with low incomes cannot be sure of
getting one. So economists are not surprised that women mention earning power at or near the
top of the list when surveyed about traits they find attractive in men. Gatsby understood that his
humble station in life made him an unlikely suitor for his coveted Daisy. And so he labored with
singular focus and determination to achieve material success on the grandest scale possible.
The theory of compensating wage differentials helps illuminate a particular detail of this quest.
This theory holds that the more unpleasant and risky a job is, the more it pays. Some of the
largest pay premiums, it turns out, are those paid to highly qualified people who are willing to do
morally questionable work. Tobacco industry consultants, for example, were once paid
extremely high fees for their willingness to testify under oath that smoking had not been shown
to cause serious illnesses. Gatsby realized that to have any chance of achieving his goal, he could
not be cautious or squeamish.
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Fitzgerald never reveals the precise details of how Gatsby amassed his fortune. But he leaves
little doubt that Gatsby’s work was not just morally suspect, but also well outside the law.
Gatsby surely realized that if he were caught and punished, his dream would evaporate. But no
matter. A less risky path would have meant certain failure.
The burgeoning literature on the determinants of human well-being also sheds light on events in
“Gatsby.’’ Once the almost exclusive domain of psychologists, happiness studies began to attract
the attention of economists after Richard A. Easterlin posed a timeless question in an influential
1974 paper. Does money buy happiness? Current research supports seemingly contradictory
answers to this question.
One is that in any given country, the average level of measured happiness remains essentially
unchanged over time, even in the face of substantial growth in average incomes. But if getting
more money does not make us happier, why do people often struggle so hard to earn more? An
answer is suggested by other studies showing that at a single point in time, people are happier, on
average, the more money they have. To the extent money influences measured happiness levels,
then, it is relative, not absolute, income that seems to matter.
But since Gatsby’s income was enormous, in both relative and absolute terms, why wasn’t he
happy? Researchers have identified other factors that affect happiness levels far more than
income does. For example, happiness levels rise substantially with the number of close friends
someone has. One of the most striking scenes in the novel is of Gatsby’s funeral, which almost
no one bothered to attend. In his single-minded pursuit of material success, he appears to have
developed no real friendships at all.
Gatsby’s unhappiness may also be explained in part by the finding that those who focus most
consciously and intensely on material success also tend to experience low levels of measured
happiness. This is a singularly important finding for the many incoming freshmen whose only
apparent goal is to become fabulously wealthy by age 25.
A far more promising strategy, according to the happiness literature, is to seek work you love.
Those who find such a calling typically become deeply engaged in their professional lives. And
engagement, in turn, leads to expertise, which in some fields, at least, leads to wealth. Finding
work that you value for its own sake is thus not only a promising path to happiness, it may also
increase your chances of becoming rich. But even if not, it will improve your odds of becoming
an interesting person, someone who is attractive to both friends and potential mates alike.
F. Scott Fitzgerald probably would have appreciated the Zen-like quality of this finding. For
although the novelist himself married a woman from a prosperous family, he advised others not
to marry for money. “Go where the money is,” he counseled, “then marry for love.”
Robert H. Frank, an economist at the Johnson School of Management at Cornell University, is
the co-author, with Ben S. Bernanke, of “Principles of Economics.” E-mail: [email protected]
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