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The reading schedules are designed so that you can structure your reading according to your preferences and schedules. We will not be discussing the novel every day in class, so you have some flexibility. Just make sure you pay attention to the due dates! Youll need to have at a certain amount read for our Socratic Seminars.
WEEK TWO
WEEK THREE
WEEK FOUR
WEEK FIVE
WEEK SIX !
MOTIFS: (reoccurring symbolic elements) Money & material representations of money Time/clocks Daisys voice Weather STRUCTURE: ! The book is divided into nine chapters, usually between 15 and 20 pages each. One way the author frames the scenes is within social gatherings: Tea party in Chapter I Party in New York with Toms mistress in Chapter 2 Party at Gatsbys house in Chapter 3 Description of guests at Gatsbys parties as well as a luncheon with Gatsby in New York in Chapter 4 Tea with Daisy and Gatsby in Chapter 5 Another party at Gatsbys house in Chapter 6 Another tea at Daisys house and a trip to New York in Chapter 7 Gathering at Mr. Wilsons house in Chapter 8 Funeral in Chapter 9 Another way to frame the story is through the trips to New York taken by the characters: Tom with his mistress; Gatsby and Nick; Daisy, Nick, Tom, Gatsby and Jordan, etc. Between each of the party scenes, Nick usually takes over and describes things or situations. The majority of dialogue comes from the gatherings of people. ! SETTING/CHRONOLOGICAL ORGANIZATION The setting is in New York in the 1920s. There are a few flashbacks to earlier time periods, before the war, which provide contrasting pictures of the characters in terms of where they are now, in terms both of location and emotional status after WWI. East Egg ! already established wealthy class West Egg ! nouveau riche those who werent born rich and just recently came into their wealth Those living on the West Egg consider themselves superior to those with new money. They adhere to the notion that true class can only come from ones upbringing, and cannot be mastered by those who start too late in life. ! 5
CELEBRITY
The 1920s in America produced many famous people. Among writers of the time period, names like F. Scott Fitzgerald and Ernest Hemingway prevail among what became known as "the lost generation." Fitzgerald wrote This Side of Paradise as a portrait of life in the early twenties. In addition, his novel The Great Gatsby portrayed not only lifestyles of the rich during the time period but also lifestyles of the Fitzgeralds during the climax of their life together. Fitzgerald's novel mentions two famous people--Dan Coty and Meyer Wolfsheim. During the time period, there were many famous people. Examples of these are Al Capone, Charlie Chaplin, Henry Ford, Gaston Chevrolet, "Bugs" Moran, and Clara Bow. The Volstead Act of 1919 gave life to such characters as Bugs Moran and Al Capone. One famous, mysterious incident between the two men was the St. Valentine's Day Massacre. The mystery around the murders still provokes curiosity today. In the infant stages of the movie industry, one famous little tramp emerged--Charlie Chaplin. People continue to celebrate the acting abilities he pioneered in the twenties. One other famous person to recognize is Clara Bow. Her perfectly puckered lips became an icon of the age. Music of the twenties produced famous people such as Louis Armstrong and Duke Ellington. The American music style became jazz. These peoples' popularity at the time provides us valuable information to reflect on the 1920s.
THE AUTOMOBILE
One important symbol in Fitzgerald's The Great Gatsby is the automobile. It represents the reckless convictions of the flapper society. At the beginning of the novel, the reader hears Nick's account of a party where a car wrecks and chaos abounds. Further into the work, Daisy manipulates the automobile to serve her purpose--to escape from Tom and Gatsby. As a result of her careless behavior, Myrtle Wilson dies. Myrtle, too, is reckless. Running in front of a moving vehicle that takes many feet of road to stop because it lacks our anti-lock, power brakes, Myrtle suffers the consequences of her irresponsibility. Daisy, as the driver of the automobile, does not suffer the consequences of her behavior. She hides behind Gatsby, knowing that she does not love him enough to make such a sacrifice for him. The automobile was a dangerous weapon in the hands of carefree, irresponsible people. It still is; Fitzgerald's lesson lives on.
TRENDS
Some of the most exciting and memorable elements of the 1920s in America are the trends. One memorable dance developed in the 1920s was the Charleston. Other trends in entertainment came in the movie industry. Who can forget talkies and Charlie Chaplin? Further, some of the most famous people of the 1920s were flappers. These women set fashion trends for years to come.
! Symbol or Reality?
Young and fashionable city women expressed their freedom by drinking alcohol freely with men in speakeasies. These women, the "flappers," embodied the disregard for tradition that virtually defined being young and modern in the 1920s. No longer weighed down by long hair and long dresses, or constricted by corsets and rules of propriety, the flappers danced to jazz, drove cars, smoked in public, and appeared to be in no hurry to marry. Gordon Conway, a Dallas debutante who, at 20, moved to New York and found work as a magazine illustrator, lived the life and promoted the image of the flapper. Her love of parties and fashionable clothes was matched by her drive to succeed in her career. Her later work in theater and film costume design earned her a large salary and an executive position that was unprecedented for women. Though less educated than Gordon Conway, and pursuing no career, F. Scott Fitzgerald's young wife Zelda Fitzgerald became another much admired model for the flapper. Her dazzling dresses, some with hemlines shockingly above the knee, were often the talk of the town. Carefree and daring, she would throw all-night cocktail parties, ride on the hoods of taxis, swim in the public fountains of New York City, and sometimes wear men's knickers. An icon of "flaming youth," Zelda radiated modern beauty. Scholars have recently shown that the political solidarity women experienced as they fought for the vote led to increased economic independence and educational achievement earlier in the century. However, because this solidarity splintered after women won suffrage in 1920, women suffered a cultural backlash during the 1920s. Moreover, the new freedom the flapper represented had actually first flourished during the war when the rules governing young women's behavior had been relaxed. As they volunteered for the Red Cross and socialized with soldiers more freely, traditional codes of class division and gender segregation were suspended. And though the liberation from cumbersome clothes and outdated rules was here to stay, the flapper's outrageousness was but an echo of the freedom of movement brought about by the special circumstances of the war. While more women than ever before pursued careers and higher education throughout the 1920s, they received contradictory pressure to value marriage and domesticity. Some of this pressure came from advertisements that used the image of the flapper in ads proclaiming marriage as the highest possible achievement for women. The message indicated that it was what a woman bought that made her free and modern, not her ability to stand on her own. The truly freewheeling flapper that had first emerged during the war was by 1920 more of a symbol than a reality
POETRY CONNECTION: DOROTHY DOW Dorothy Dow was a popular poet writing in Chicago during the 1920s-30s. She frequently wrote about party scenes popular among the young rich, and her poetry captures both her admiration for the lifestyle of the flapper and her awareness of its innate superficiality. As you read her poem, Cabaret, consider how she describes the young woman at the nightclub. How does she contrast the glittering scene with negative imagery? How does the tone of the poem change or intensify in the last two lines?
CABARET As published in Will-o-the-Wisp, 1925 Her dress was bistre, and her eyes, slim lines Of grey jade gleaming through a blackened veil; Glad laughter, gayer than a madrigal, Shattered, as wind, against a spray of vines, The dark and mournful beauty of her small Vermilion mouth, that ached with being gay. And subtly, dreadfully, there lay, in all The odor of fruit over-ripe Decay.
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Omniscient power, aware of everything. God is dead. Poverty; barrenness; hopelessness. Pretentious. Glittery, but really an imitation Destruction and recklessness.
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2. Ch. 5, p.92 ! If it wasnt for the mist we could see your home
3. Ch.5, pp. 95-96 ! As I went over to say good-by I saw that the expression
4. Ch. 6, p. 98 ! I suppose hed had the name ready for a long time
5. Ch. 6, pp.109-111 ! He wanted nothing less of Daisy than she should go to Tom
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2. Ch. 9, pp.179-180 ! Gatsbys house was still empty when I left to the end of the chapter.
Conclusion: Complete this idea in three to four sentences. In my opinion, Gatsbys mistake was:
Novel Reflection: How does The Great Gatsby connect to our essential questions? Do you find the novels ending hopeful or depressing? How is this novel still relevant to us as modern readers?
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This reading guide was created by Dara Miller, English teacher at the Chicago High School for the Arts. Some materials adapted from Cambridge Public Schools, The University of Texas at Austin, NoveLinks, and Montgomery County Public Schools.
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