The Dust Jacket of The Great Gatsby
The dust jacket of The Great Gatsby has an extremely complex yet influential relationship to its text as well as its author. Francis Cugat, the artist of the cover, developed the painting through a series of ten sketches[1]. In each sketch he develops a new element of the painting which indicates the level of complexity in the final work. Interestingly, Fitzgerald never mentions the artist’s name in his correspondents with his editor Maxwell Perkins[2]. However, he does admit that it has a direct influence on the novel. In a correspondence written from France (estimated to have been written around august 17, 1924) Fitzgerald implores, “for Christ sake don’t give anyone that jacket you’re saving for me, I’ve written it into the book”[3]. Moreover, Fitzgerald claims to have finalized the novel on November 14, 1924. This ambiguous letter leaves the reader to seek out the influence of the painting on the novel.
The different elements of the painting on the dusk jacket appear to emerge in different parts of the novel. Some critics equate the woman’s eyes to the ominous stare of Doctor T.J Ekckleburg. However, the dissimilarities between the images on the jacket of the description of the billboard imply that the Doctor was not completely inspired by the painting. Another frequently discussed connection grows out of Nick’s statement at the end of chapter five. He observes, “Unlike Gatsby and Tom Buchanan I had no girl whose disembodied face floated along the dark cornices and blinding signs”[4]. This passage is almost an exact description of the cover of the book. Furthermore, the green tear has striking similarity to the light “that burns all night” opposite the sound...
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Bruccoli, Matthew. and Duggan, Margaret. Correspondence of F. Scott Fitzgerald New York: Random House,1980
Scribner III, Charles. “Celstial Eyes” Board of Trustees USC 17 June 1998
www.sc.edu/fitzgerald/essays/eyes/eyes.html
Watson, Mary. “Visual: Jacket for the Great Gatsby” Board of Trustees USC 29 Jan 1997
www.sc.edu/Fitzgerald/facts/facts6.html#6
[1] Scribner III, Charles. “Celstial Eyes” Board of Trustees USC 17 june 1998
www.sc.edu/fitzgerald/essays/eyes/eyes.html
[2] Scribner, 1
[3] Watson, Mary. “Visual: Jacket for the Great Gatsby” Board of Trustees USC 29 Jan 1997
www.sc.edu/Fitzgerald/facts/facts6.html#6
[4] Scribner, 1
[5] Scribner, 1
[6] Scribner, 1
[7] Berman, Rob. “The Great Gatsby and the twenties” The Cambridge Companion to F. Scott Fitzgerald ed. Ruth Prigozy (Cambridge: Cambridge University Press, 2002) 81
Web. The Web. The Web. 17 Oct. 2014. The "Great Gatsby" Novels for Students -.
History shows that all protest movements rely on symbols - boycotts, strikes, sit-ins, flags, songs. Symbolic action on whatever scale - from the Tallahassee Bus Boycott to wearing a simple wristband - is designed to disrupt our everyday complacency and force people to think. You have to be careful how you're using the word boycott. Boycotters in Tallahassee achieved an important victory in the struggle for civil rights.
Mr. Smith is portrayed as an honest man with strong opinions. He is the ideal politician in an ideal society. The film Mr. Smith Goes to Washington depicts a "reassuring image" that happens to be "an image of the past" (Wheeler). However, in today's legislature, people like Mr. Smith are rare due to the fact that a politician's primary goal is re-election. The good of the people may come as another intention of a politician, but it is always secondary to "bringing home the pork." There should be more people like Mr. Smith because the legislature would be able to make decisions more effectively and efficiently, rather than how slowly they currently operate. This is an unfortunate truth, yet it is how our society has been shaped to operate. This becomes apparent after close examination of the United States legislature today and viewing of the film Mr. Smith Goes to Washington.
Dillon, Andrew. "The Great Gatsby: The Vitality of Illusion." The Arizona Quarterly 44 Spr. 1988: 49-61.
New Essays on The Great Gatsby. Ed. Matthew J. Bruccoli.
Gross, Dalton, and Maryjean Gross, eds. Understanding "The Great Gatsby": A Student Casebook to Issues,
The Great Gatsby is one of the most renowned books known to mankind. A story about a man’s quest to fit into a society built for the rich whilst wooing a childhood crush may seem extremely simple and straightforward, however, the mystery is not behind the plot, but rather, it is in the writing itself. The words F. Scott Fitzgerald used were chosen with such delicacy, one cannot even hope to assume that anything was a mere coincidence. The book is laced with intricate strands of symbolism bound together by a single plot. One of F. Scott Fitzgerald’s more major themes is the use of locations. The importance of location as symbols are further expressed through the green light at the end of the dock as well as the fresh, green breast of the new world.
Forward, S. (2013) The Great Gatsby; following the dream The English Review. Volume 24 No 2. Journal
Batchelor, Bob. Gatsby: The Cultural History of the Great American Novel. Lanham: Rowman & Littlefield, 2014. Print.
Fitzgerald’s novel The Great Gatsby is one of the most carefully structured stories of all time. The narrator, Nick, is a very clever and well spoken storyteller. Nick confides with the reader in the first pages of the novel. He says that he needs to tell the story of a man called Gatsby. It is as if Nick has to overcome disappointment and frustration with a man who has left him with painful memories. Nick says that, even though Gatsby did alright in the end, “it was the foul dust that collected in his wake” that disgusts him now. Nick, thus, begins the novel with uncomfortable memories. Time is a meaningful concept in this story. It is evident that dreams and memories are central to the overall plot and meaning. Secondly, the American Dream is a “green light” of desire that Gatsby never stops yearning for and something he will not forget over time, even as he is dying. This is so, even though no one cares about Gatsby or his dreams after he died, except maybe Nick. Finally, the fact that Fitzgerald uses flashback; that Nick is telling us about a main character after he has already died and before the story begins, is ultimate proof. The Great Gatsby is structured by Nick’s memory. Fitzgerald’s clever use of flashback throughout and within the novel is the greatest evidence that he intended his novel to be centered on memory and going back in time, which will be sort of a focus as we go further into this essay.
Trilling, Lionel. "F. Scott Fitzgerald." Critical Essays on Scott Fitzgerald's "Great Gatsby." Ed. Scott Donaldson. Boston: Hall, 1984. 13-20.
Trilling, Lionel. "F. Scott Fitzgerald." Critical Essays on Scott Fitzgerald's "Great Gatsby." Ed. Scott Donaldson. Boston: Hall, 1984. 13-20.
However, domestic violence is not a new issue within our society. For centuries, women have been regarded as the property of men, offering them leeway in the enforcement of domestic abuse laws. Public opinion held that as heads of households, they had the right to discipline their wife and children as they saw fit. Eventually, women came to view this prevailing belief as truth. An inevitable outcome was their denial as victims at all. They simply saw it as the way it was and accepted it as such. Non-intervention has typically been the preferred method in regard to family matters. The long standing belief held that ‘what happened behind closed doors was no one’s business other than that family’s’ ruled the attitudes of society, the lega...
BIBLIOGRAPHY Barron et. al. 1992 WAFE Evidence to the Home Affairs Select Committee Enquiry into Domestic Violence Bristol: WAFE Woman’s Aid Federation (England) Report 1992 Hague & Malos 1995 Against Domestic Violence: Inter Agency Initiatives Bristol SAUS Punching Judy BBC Television Programme 1989 Domestic Violence – Report of an Inter Agency Working Party 1992 Mooney J 1994 The Hidden Figures: Domestic Violence in North London London Islington Police & Crime Unit Inter-Agency Circular; Inter Agency Co-Ordination to Tackle Domestic Violence Home Office, 1995 Grace S 1995 Policing Domestic Violence in the 1990’s Home Office Research Study British Crime Survey 1996 The Home Office Dobash/Dobash/Cavanagh/Lewis 1996 Research Evaluation of Programmes for violent Men Scottish Office Central Research Unit Dobash/Dobash/Cavangh/Lewis 1996 Re-Education Programmes for Violent men – an Evaluation Home Office Research Findings No 46 Domestic Violence & Repeat Victimisation Home Office Police Research Briefing Note No 1/98 The Family Law Act Part IV 1996
Hickey, Angela D. "Critical Examination: The Great Gatsby." Rpt. in Masterplots: Revised Second Edition. Vol. 5, Frank Magill, ed. California and New Jersey: Salem Press, 1996. 2651-2