F. scott fitzgerald

It has never been easier, or less rewarding, to be a Great Gatsby bore. As the book that is frequently, and speciously, cited as the Great American Novel — perhaps because, at around 180 pages, people have bothered to read it — turns 100 this month, it has become the byword for a certain kind of middlebrow literary appreciation. Even people who are barely aware of the novel know certain images and lines, such as the omnipresent lighthouse, “So we beat on, boats against the current, borne back ceaselessly into the past” and the whole Ralph Lauren-esque visual aesthetic that F. Scott Fitzgerald appeared to anticipate. The novel, published in April 1925, has achieved the impossible by breaking free of the page and reverberating across the world in a kind of endless meta-narrative.

I have always thought “Call me Ishmael” to be a rather camp introduction to a novel. Given the line’s conspiratorial intimacy, I have long imagined it whispered by a drag queen in a dive bar at 3 a.m. This, however, is the fault of my own unseriousness. The resonance of the name Ishmael — Abraham’s illegitimate son by Hagar who is destined to wander the desert — remains the opening example of one of the clearest, cleverest and most consistent of themes in Herman Melville’s magnum opus Moby-Dick, namely, the quest for God. Religion runs through Moby-Dick. We might almost say that the Bible haunts it. There are the names, mostly of Biblical characters, and even the direct invocation of prophets: Ezekiel, Elijah and, of course, the ur-whale wrestler, Jonah.

On a shard of paper, some time in the bleak 1930s, F. Scott Fitzgerald incorporated a favorite line from one of his favorite poets, John Keats, in a short verse of his own: 'Don’t you worry I surrender Days are long and life’s a bender Still I know that Tender is the Night.' Keats was a Romantic, perhaps the Romantic, with his lyric gift and tragically brief life. Fitzgerald loved the Romantic poets, and romance in the lower case, but was at the heart’s core a modernist, far more egoist than romantic, and quite hardboiled. The little quatrain above is rather like T.S. Eliot’s ‘jug jug’ in The Waste Land — homage of a sort, but also showing ironic distance, and no intention of writing like Keats.