#F. Scott Fitzgerald at the beginning of The Great Gatsby

[femboy-central]

… if you want to read my essay on how gay Nick Carraway is it’s under the cut

Until recent years, very few authors had the courage to express homosexuality in their work for fear of institutional punishment or negative social reaction. With stories like that of Oscar Wilde, writers were accurately terrified to explicitly explore the diversity of the sexual and romantic interests of their characters. Despite this, they were not stopped and authors chose to implement their gay characters with artistic subtlety. F. Scott Fitzgerald's most well known novel, The Great Gatsby, homes one example of this type of character. Although he does not live in a time period where he can be open about it, Nick Carraway is a homosexual man and this fact is crucial to truly understanding his self and his relationship with Jay Gatsby.

Perhaps the most damning evidence of Nick's sexuality is the fact that the only sexual encounter he is implied to have had is with Chester McKee after the party in New York (28), but it is not all. Nick's homosexuality is most casually clear in the descriptions he gives of the people in his life. Although he does acknowledge past romantic relations with women, he does not read as particularly interested in them. When questioned about a rumoured fiancée out West, Nick remarks that he is very opposed to "being rumored into marriage," (15) and in his first meeting with his supposed love interest, Jordan Baker, Nick compares her to a cadet (an exclusively male occupation at the time) and points out her most masculine features as ideal including her small breasts and erect carriage (8). In comparison, Nick's descriptions of the men around him are rich with intrigue; Nick notices how Tom Buchanan's eyes establish dominance in his face and the way his muscles move under his clothing (5). When Nick speaks about the train conductor on the hottest day of the summer, he critiques people who think of kissing flushed lips and laying with a partner in the heat despite no one else in that scene expressing those feelings (87). The suddenness of this flustered complaint implies that Nick is reacting to his own desires; desires he wishes he did not have.

While Nick is at least vaguely attracted to multiple men in his story, there is one he is consistently interested in throughout: Jay Gatsby. From their first meeting where Nick goes on about how pleasant a smile Gatsby has (36) onwards, Nick is very fond of Gatsby, going so far as to emphasise that he is the only rich person he did not end up disgusted by (2) and that all of the East was haunted for him after Gatsby's death (137). In Gatsby's life, Nick even expressed his affections to him in whatever ways he could. For example, when Nick agrees to reintroduce Gatsby and Daisy, he does not allow Gatsby to reimburse the favour (62). Also, after Myrtle's death, Nick only leaves Gatsby's side because he feels like he is intruding (112), returns to a bed he can not fall asleep in, and takes the first opportunity available to meet Gatsby again at dawn (113). Nick listens to Gatsby's story then (114), something nobody else would do in favour of spreading scandalous, borderline slanderous rumours.

Nick claims he is not a judgemental person, but proves himself wrong as the novel progresses in regards to every person he has met but one. Despite remarking that he disapproved of Gatsby "from beginning to end" (118), he was equally endeared to him. Nick also claims to be an honest person (44), which he proves not entirely true either. Realising Nick's true feelings for Gatsby reveals the intricacy of his character and calls into question the reliability of his narration. Although his intentions are always sympathetic, Gatsby is by trade a bootlegging criminal and yet even after meeting Meyer Wolfsheim and being told about his business (54), Nick plays ignorant about Gatsby's involvement. To Nick, the idea of Jay Gatsby is related only tertiarily to the idea of "Wolfsheim's men". Nick makes this clear every time he visits Gatsby after Wolfsheim's men begin working at his house by how suspicious he always is of them, even describing one's face as “villainous" (86). Nick does not judge Gatsby as the same as these people nor the Buchanans despite not being so different in truth because he is already in love with him and truly wants to believe he is a good person at heart. Even Tom Buchanan is aware of this on some level, showing his cognisance after Gatsby's death by telling Nick that "(Gatsby) threw dust into (Nick's) eyes just like he did in Daisy's" (138).

To ignore Nick's sexuality is to intentionally misunderstand his character and The Great Gatsby as a story. On his surface, Nick Carraway is a single objective voice in a world of desires and deceit, but as much of The Great Gatsby does, his character requires the reader to look below to his own human biases if they intend to comprehend him.

[yuqi-luv]

I love her and that's the beginning and end of everything /The Great Gatsby - F. Scott Fitzgerald/ 🍸

[aziraphales-library]

do you have any fic recs for aziracrow in the 1920s/30s? I watched Bright Young Things recently and now all I need in life is Aziraphale attending Gatsby-esque parties or anything similar along those lines. I love your blog btw! Very helpful <3

We have a #1920s tag, so check that out. Here are some 1930s/Gatsby/Bright Young Things fics...

wanna witness your eyes looking by izzyhandsgf (E)

"How could someone so unbearably holy commit such sins in the most beautiful way?" ----------------------------- Or, Aziraphale and Crowley meet in the 1930s, fem-presenting, and both are slightly overcome by their feelings for one another...

I��ll be Seeing You by gothwillgraham (G)

In the early 1930s, both Crowley and Aziraphale are active in London’s high society, without the other realizing it. When their respective orders cause them to cross paths for the first time since 1867, dealing with the tasks at hand is one thing. But dealing with the emotions built up in the last 70 years is quite another.

Lavender Coffin by The_Infamous_Jack (T)

“If Aziraphale had been in any way inclined, he would have been worried about the damnation of his soul if Heaven ever saw what he was up to. He never worried, though, because they couldn't see a damn thing. Aziraphale was not doing anything that involved Heaven at the moment, he was simply spending time with the humans, and as result, his lifestyle was completely invisible to them. They never bothered him, and he was free to act as sordid as the rest of the era if he so chose to.” ~~~ Aziraphale loves the 1920s, and he only wishes that he could share it with Crowley. Unfortunately, the more time that Aziraphale spends with the humans, and the more drunken letters he writes to his absent “husband”, the more he discovers the darker undertones to the era he thought he fitted right into. Eventually, he begins to spiral into questioning his own loyalties, and he desperately needs somebody to save him. It’s rather ironic that the only person who can is a demon, and one which Aziraphale hasn’t seen for over 70 years. Alternatively, the author watched Michael Sheen in Bright Young Things and you know what that means… (Aziraphale in makeup? Yes please).

Maybe This Time by orphan_account (T)

There was a cabaret in a city called Berlin, in a country called Germany, in a Europe that just narrowly escaped the end of the world and was rapidly heading towards another attempt. And in that cabaret, an Angel and a Demon were dancing together. The trumpets signaling end times could have been playing, and they wouldn’t have even heard it over the music.

Such Sweet Sorrow by Eldyra (M)

This work is loosely inspired by the wonderful comic "Jazz Baby" by WhiteleyFoster and "The Great Gatsby" by F. Scott Fitzgerald. Crowley and Aziraphale meet in 1923 at a party, which they both attend due to an assignment from their respective head offices. Crowley is having a bad night, Aziraphale still feels bad about the Holy Water argument, neither is in a party mood. So they take off together to make a memory that will remain precious to them both for the rest of their lives.

Celestial Bodies by Justkeeptrekkin (M)

The year is 1923. Aziraphale's friends at the gentlemen's club invite him for a weekend away in Devon. He asks Crowley to join. It gets very silly and very messy very quickly. That's just how things were in the roaring twenties.

- Mod D

[nightvortaex]

Davron The Great Gatsby au:

“I love [him] and that's the beginning and end of everything.”

“He hadn’t once ceased looking at [him], and I think he revalued everything in his house according to the measure of response it drew from [his] well-loved eyes. Sometimes, too, he stared around at his possessions in a dazed way, as though in [his] actual and astounding presence none of it was any longer real.” ― F. Scott Fitzgerald, The Great Gatsby

[petaltexturedskies]

And so with the sunshine and the great bursts of leaves growing on the trees, just as things grow in fast movies, I had that familiar conviction that life was beginning over again with the summer.

F. Scott Fitzgerald, The Great Gatsby

[fertabranche]

Trying to list off the r1999 references I can find.

I’m only doing the very beginning in this post so I think it’s a lot of things people already know, but if I don’t do this in order I will simply perish so here we go

Prologue : This is Tomorrow

Part One : Rock 'n' Roll Radio

• This Is Tomorrow

The prologue title is a reference to a contemporary art exhibition that took place in 1956. From what I understand, its purpose was to update the definition of art by challenging the prejudices of the institutions of the time, for instance by using pop culture symbols, this kind of stuff. It would later be regarded as the precursor of the British Pop Art movement, one of the main aesthetic movements of the 60s, which is therefore also relevant in the prologue.

I’ve already written a post about this, but I feel like this title choice is more than an artistic reference, it also makes sense thematically. Later on in the chapter, the Sixties are described as such:

Thanks to our 20/20 hindsight vision we know this is meant to be read in a tragic irony kind of way. The title reads the same to me: there will never be a tomorrow long enough for progress to take root in a world where the Storm is still raging, and in that sense the game began painting that picture here.

• Rock 'n' Roll Radio

This is the title of the prologue's first part. I think it’s named after the song "Do You Remember Rock 'n' Roll Radio?" (1980) by the Ramones. From what I understand, it’s as much of a love letter to rock music from the era Regulus was from as it is a warning about the threat nostalgia can pose to creativity.

Once again, it kind of reads as tragic irony given how it’s the second time they’ve been in the 60s. This is worse than nostalgia they’re literally stuck in the past lmao.

The Great Gatsby

Now that the titles are out of the way: the story opens up with the last lines from The Great Gatsby by F. Scott Fitzgerald. The game does not include the first sentence of the quote, but I’ve chosen to use a slightly longer version here because that’s how it makes the most sense to me.

Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that's no matter-tomorrow we will run faster, stretch out our arms farther.... And one fine morning——

So we beat on, boats against the current, borne back ceaselessly into the past.

I have not read the book, so I’m not fully confident trying to analyze it, but from what I understand, the green light is a motif throughout the novel that symbolizes longing. (Or the American Dream, but I don’t think that line of interpretation is terribly relevant in the prologue.)

To be super brief and include as little spoilers as possible, the book tells the story of a man named Gatsby, who grew up in poverty and decided to reinvent himself as a rich man in hope of winning back over a woman he once loved. Though he is known to throw lavish parties, one of the key points of the novel is apparently when the narrator finds him outside of one, staring across the bay at a green light coming from the end of that woman’s deck. This obsession eventually ends in tragedy.

As highlighted in the end quote, this is the story of a man forever stuck in the present, between a past he can never forget nor escape, and an illusionary future he can never quite reach. Just like with the other two references, I think R1999 is quoting this half literally, since the characters share similar issues with the flow of time, but like, for real this time.

What I do find interesting here is that from what I could research, I don’t think the quote is meant to be read as a wholly nihilistic take on the purpose of the human condition? There’s also a little bit of an implied admiration for the resilience synonymous with such cyclicality.

And I do find that sense of neutrality kind of accurate to the vibe of the game? Life sucks, but they beat on quite beautifully, don’t they? :,)

Newton Street

Granted this one may be a reach, but I do find it a little too convenient that we meet Mr.Apple on Newton Street of all places. I could write an entire other post on the references to Isaac Newton in his profile, but since that aspect of his character has never been discussed in the main story, I don’t think it’s relevant here.

Regulus’ Record Collection

In the first part, we get two peeks into her record collection. I don’t think they are all meant to be real records, and it’s kind of way too pixelated to see anyway, but I’m pretty sure I see Please Please Me (1963) and perhaps Rubber Soul (1965) by the Beatles on the right side of her office, though I might just be losing it from staring at pixels for too long.

On the wall of the other picture, I think there’s Please Please Me again, My Generation (1965) by The Who, December’s Children (1965) by The Rolling Stones, and potentially an upside down Aladdin Sane by David Bowie even though it was only released in 1973?

If anyone has caught more, I’d be super interested to know :]

Sixties Fashion

Another area I’m definitely not an expert in, so take everything with a grain of salt but I unfortunately cannot shut my mouth.

Idk how much I should source this, but basically, Regulus’ clothes are super inspired by the fashion trends of the Sixties. For example, from what I’ve read, one of the most popular looks of the era for women was what was apparently called a mini dress with "go go boots" (low heeled mid calf white boots), which is pretty much what she’s wearing right? Similarly, the 60s were apparently the era where sunglasses truly became fashion accessories, as it’s when plastic became more mainstream to use than metal, which allowed a lot more freedom of design.

I also read a bunch of articles to try to see if her accessories had any historical significance: this article on chiffon scarves throughout history explains they were mainly used in the 60s to "coordinate with an outfit", but could have bold prints, just like hers does. This one on knee high socks in the 60s, says that they apparently became quite popular because of the mini dresses, in order to still provide coverage. This one was about the newsboy cap, which was apparently very trendy amongst young women back then. And finally, this one explains that backpacks became popular among young people in the sixties, as it’s around when they were modernized for day to day use by becoming smaller and lighter.

I did fail to identify what kind of jackets she is wearing though, it kind of looks like some kind of motorbike jacket on the left and perhaps a type of rain coat on the right? In which case, both were popular at the time as motorbikes were an integral part of the counter culture of the era, and raincoats were apparently a fashion trend for women back then.

Radio Pirate

I feel like this is a pretty well known fact by now but I’m including it in order to be thorough: there is a historical reason as to why Regulus is calling herself a pirate.

In the Sixties, the growing interest for pop and rock music was not catered to by the official radio stations just yet, so what we call "pirate radios" started broadcasting it from offshore ships. This was technically not illegal as they were in international waters, but was still kind of frowned upon because they didn’t observe copyrights law and stuff like that?

And that’s exactly what Regulus is doing when the Manus attacks her in the prologue.

Okay that’s it for this part. I’ll cover part 2 in another post if I have the energy, hope I didn’t make mistakes o777

[theacademiccottage]

“And so with the sunshine and the great bursts of leaves growing on the trees, just as things grow in fast movies, I had that familiar conviction that life was beginning over again with the summer.”

- F. Scott Fitzgerald, The Great Gatsby

[the-radio-demon-blog]

Hello, Mr....

He looked in his notebook.

Mr. Alastor.

He returned his gaze back to eyes of interviewed demon.

It's nice to meet you in person. My name is Faust Gotsman, I am a correspondent for the radio station "Hell Today". If you don't mind, could you answer a couple of questions, wrote by me, my colleagues, and sent to us by our dear listeners?

He opened his notebook once again.

I will now read out all the questions, and you can answer them in any order convenient for you. Well, let's begin.

"Mr. Alastor, will you have an interview with the Ruler of Hell, His Highness Lucifer, on your radio station?"

" What is your favourite dish?"

" Mr. Alastor, could you tell me what helps you always keep your smile on your face?"

"Do you play sports? If yes, what kind? If not, what sport do you like best?"

And also, so to speak, a blitz part of our interview.

Apples or pears?

Favourite author?

Favourite movie?

Favourite song?

He looked up at Alastor with pen in his hand, waiting for answers. This chance should not be missed!

What a pleasure to meet you, Mr Gotsman! Quite a pleasure! Shakes the gentleman's hand. My, Hell's Today sounds like quite a radio station! Well, I usually don't cater to other stations but for now, I'll make an exception.

Hmm...you want to set up an interview between the Ruler of Hell and I? Well he is my floor mate, after all! It shouldn't be too hard!

My favorite dish? Ah, well, I have quite a nostalgic feeling about Jambalaya. However, venison is my favorite. Processed food is quite uncultured.

Tell you about what keeps a smile on my face? Ah, what an interesting question! I believe I've only shared that advice with our dear princess! I suppose its to keep my enemies guessing and to encourage my allies. And most importantly...it ensures that you are the one in control.

Well, I used to play sports when I was younger. Much, much, younger when I was a boy. Baseball was at its height in New Orleans however it required so many pieces to play. I found that I prefer soccer much more. I usually stray away from sports with a lot of contact but soccer is an exception. Soccer can be played with simply a large space and a ball. And it is quite an elegant sport if I say so myself.

I do have to say with the humans competition such as the EUROS and COPA happening, the hotel was been abuzz with excitement! As much as I detest those stupid picture boxes, they do have one advantage...to tune into the living world. Charlie isn't much of a fan but the free beer and the spacious living space allow new sinners to enjoy these competitions!

Apples or pears? Hmmm...I would say Apples. I would say they are more striking in color and it is a symbol of sin! Quite fitting, hm?

My favorite author? I would say F. Scott Fitzgerald. I did quite enjoy his book The Great Gatsby along with his other marvelous novels!

Ah, favorite movie. That's quite a question. Well, before Vox ruined technology. I would say even though I detest television I can admire Alfred Hitchcock's work! Picking just one would be troublesome for me but I shall give you three? How about that? Rear Window, Rebecca, and Strangers on a Train. All of them were quite thrilling and clever! I do enjoy Arsenic and Old Lace as well. Quite a classic!

Favorite song? Ah yes, my favorite subject! I would say for now...it does change...All the Things You Are sung by the wonderful Ella Fitzgerald!

I suppose that's the end of your little interview then! I appreciate your interest! Until next time, Mr. Gotsman! It is always a pleasure to see another radio station thriving in these trying times.

[snowrassa]

currently finding elements of circular storytelling in the media I'm into right now

1. Camelot wikipedia synopsis | 2. Ghost Quartet lyrics | 3. Camelot analysis in The Epic Film: Myth and History | 4. The Great Gatsby ending, by F. Scott Fitzgerald | 5. Hadestown lyrics | 6. Ghost Quartet lyrics | 7. Beginning of the final book of The Once and Future King by T.H. White

[yeahyeahno]

Good Omens Book Club

POSSIBLE GOOD OMENS SPOILERS

You have been warned, please don’t spoil yourself. This refers to books referenced in S2 of Good Omens, but I am not relating them to events or plot.

EDIT: @ineffable-romantics​​ gave some really excellent suggestions. Having rewatched and looked up their starting sentences, I think these are right. I suppose only Neil Gaiman or Douglas Mackinnon could confirm 100%. More below.

In episode 2 we get a shot of a book shelf. I have compiled the titles, though two are illegible. For one you can make out the publisher mark, the other is too far back in the shadows. I have listed them in order on the shelf, plus the books that Gabriel picked up.

-

The Books:

I Capture the Castle - Dodie Smith

No Woman No Cry - Rita Marley

A Tale of Two Cities - Charles Dickens (Mystery book, in the shadows)

The Crow Road - Iain Banks

The Curious Incident of the Dog in the Night-Time - Mark Haddon

Catch-22 - Joseph Heller

Love in the Time of Cholera - Gabriel Gracia Marquez

The Bell Jar - Sylvia Plath (Mystery book, publisher mark visible but I can't make it out)

Nineteen Eighty-Four - George Orwell

The Big Sleep - Raymond Chandler

The Bible

The Great Gatsby - F. Scott Fitzgerald

The Catcher in the Rye - J. D. Salinger

A Series of Unfortunate Events - Lemony Snicket

Herzog - Saul Bellow

Pride and Prejudice - Jane Austen

Good Omens - Neil Gaiman & Terry Pratchett

-

Here’s the opening line for The Bell Jar:

‘It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.”

And for A Tale of Two Cities:

‘It was the best of times, it was the worst of times...”

Gabriel reads this aloud in the bookshop (07:14), and shelves it near the Crow Road! Mystery solved? Perhaps. (Wait and see?)

“X-Ray Trivia” from Amazon Prime states “The Good Omens Book Club - Co-showrunners Neil Gaiman and Douglas Mackinnon would love for everyone to read these books. Douglas Mackinnon put these books in alphabetical order, starting with their first sentence.

All the books ‘Jim’ has reshelved so far by alphabetical order of ... the first line in each. Each book’s first line begins with ‘I’.

Gabriel shelving a book near Iain Banks’ ‘The Crow Road.’

[godzilla-reads]

Summer Reading Aesthetic

“And so with the sunshine and the great bursts of leaves growing on the trees, just as things grow in fast movies, I had that familiar conviction that life was beginning over again with the summer.”

—F. Scott Fitzgerald, The Great Gatsby

[eleapolitan]

WHAT'S TODAY'S SPECIAL?

✩ THE GREAT GATSBY

: a few luxurious vanilla bean scoops, alongside a bright pistachio scoop and a drizzle of some quintessentially american hot fudge to top it off.

I’ve seen Gatsby: An American Myth at the ART two times now, and it’s been such a pleasure both times, with it quickly becoming my favorite show I’ve ever seen or witnessed in my entire life. At this point, there’s no real breakdown of the songs or story yet, and I wanted to detail my own thoughts on the score of the musical. So, here’s my review and summary of every song from Gatsby: An American Myth, in the best way I could possibly articulate it.

— SPOILERS FOR THE GREAT GATSBY BY F. SCOTT FITZGERALD AND GATSBY: AN AMERICAN MYTH AHEAD. read the better version of this on my substack !!

WELCOME TO THE NEW WORLD

NICK, ENSEMBLE

Welcome To The New World is our opening number, and it’s a phenomenal entrance to the story and themes of The Great Gatsby. It starts with NICK, explaining who he is, why he left for New York, and the general vibe of New York as he arrives, and transforms into a full company performance. The choreography really carries this song, but the detailing of New York and its culture at the time of the story is done so well in the lyrics, really emphasizing the passion and energy in the city and state. what i love most is that the song opens on the common people of New York, those that attend GATSBY's parties but are not a part of the “elite,” with clear references to those characters in the company being immigrants, from out of the country and from other parts of the country itself. This idea of the song being sung by the average person in New York really lends itself to the introduction of TOM, DAISY, and JORDAN, who, during the song, are watching the company dancers from a higher level of the stage. as the song concludes, TOM says something along the lines of “quiet down” or a comment about the amount of noise from the other side of the pond, forming a line of class before the show even truly begins. crazy fun beat, crazy fun choreography, and such a captivating start that really draws you into the world of the great Gatsby, despite its weakness in catchiness.

a solid opening number, being incredibly fun with fantastic and dynamic choreography, although not the best song on its own in comparison to other gatsby: an american myth tracks or other musical openings. won’t be a super interesting listen for those who only have access to the score, but will be a super fun watch for everyone who sees the show, and a great start to an even better show! 

GOLDEN GIRL

DAISY

Golden Girl is DAISY’s first solo, and it’s good. for context, the scene previous to this is DAISY confronting TOM about taking a phone call, presumably from a woman or mistress, while they are hosting dinner, and demanding he hang up. he hangs up the phone and hurts her hand in the process, to which she crumbles in pain, with TOM then telling her that she is “being a bad host,” which leads into the song. Detailing DAISY’s emotions of always feeling the need to be perfect, and feeling as though she was pushed from being a debutante directly into being a bride, Golden Girl should be incredibly emotionally touching, especially as DAISY begins to reminisce on a previous love and another possible life, but it’s just not. Golden Girl is fine, and that’s the best way to say it, and it rests a lot on the gorgeous vocals of Charlotte MacInnes. The lyrics are okay, but at this point in the story, the song reads strangely, and it’s just a bit boring to sit through. I think Golden Girl does it’s job explaining DAISY’s feelings, I wish it just did it in a more interesting way, because it feels a bit like an afterthought, and a little forced into the overall flow of the story. Golden Girl’s crime is that of being boring, and that is the real tragedy of the song.

overall, a very basic take on daisy without very compelling ideas or lyrics, that rests on the vocals and acting ability of the performer and not on its own merits. not the worst i've seen in theater before, but my own personal contender for one of my least favorite of this show’s numbers. disappointing for daisy’s first solo, but will be a genuinely great audition piece for those looking for something from the show. this is likely a controversial take, but i just didn’t enjoy it. 

VALLEY OF ASHES

MYRTLE, WILSON, ENSEMBLE

Now. We’re. Talking. MYRTLE and WILSON are so cool in this production, and Valley of Ashes only cements that further. It’s a fantastic company number with a balanced focus between MYRTLE, WILSON, and the rest of the company that centers on the working class’s view of New York and the dichotomy between them and those with money, both new and old. It introduces crucial characters, interesting plot and thematic elements, and from what I recall, it’s sound and choreography is captivating for an audience. Both Solea Phiffer and Shea Renne performed beautifully as MYRTLE, and Matthew Amira makes me actually care about WILSON in ways I didn’t think were possible. It’s just so good, and is such an edgy, interesting performance. Huge fan!

a great company performance with a variety of skills from acting to dance to vocals on display from every member of the cast performing. takes everything amazing about the opening, and dials it up now that it knows the audience is already sat and listening. i'm obsessed.

SHAKIN OFF THE DUST

MYRTLE, ENSEMBLE (FEAT. TOM & NICK)

Another banger from MYRTLE and the wildly hardworking company, that’s only made better by the acting ability and the raw comedic and dramatic timing that Cory Jeacoma and Ben Levi Ross have as TOM and NICK. Taking place in MYRTLE’s apartment, Shakin Off The Dust gives a balance of a fun, party-like atmosphere that really showcases MYRTLE’s lust for life and desire to really live, which is core to her character, alongside the genuine emotions and motives behind the speakeasies and parties of the 1920s, which came from a desire to feel loose and free after the war and diseases that hurt the country, and also deeply hurt MYRTLE and the company characters like her, who desire to emulate the luxury and freedom of the upper classes. It’s much more emotionally raw than would be expected of the flashy costumes and lights, and the gaudy set, and provides insight into TOM and MYRTLE’s relationship and MYRTLE’s difficulties with her husband, family, and life that lead her to lead this affair. It also gives us canonically gay NICK, which I could never be mad at. Fantastic choreography as always, with a special solo given to a wildly talented dancer in the company, Chris Ralph who has delighted the audience both times I’ve seen the show in an incredibly unique way.

fun, flirty, and emotionally devastating. everything that i look for in a track, only made better by those performing, with phenomenal execution of the lyrics and choreography.

NEW YORK SYMPHONY

NICK, MYRTLE, DAISY, ENSEMBLE

This one took me a second to remember, but once I did, it was hard to forget. Taking place after TOM slaps MYRTLE, telling her that he would never truly marry her, and after NICK’s realization of queerness, New York Symphony is a song detailing the experiences of NICK, DAISY, & MYRTLE as people who have moved to New York in search of something, and emphasizes their similarities. It’s not a very memorable song, but I find it touching and a strong support for the overall story. Nothing too special, but still leaves a pretty hefty impact even with just a vague memory of the emotion it evoked.

a strong addition to the story and an interesting depiction of the similarities between multiple main characters, drawing connections that are crucial, or at least helpful, to the story.

ONE HEART BEAT

GATSBY, JORDAN, ENSEMBLE

One Heart Beat is our introduction to GATSBY’s parties, alongside the man himself, and it does a great job at utilizing the skills and talents of the cast alongside the fantastically designed set to create a dynamic and fun atmosphere. Great utilization of JORDAN’s character, which this production can occasionally lack, so that’s a major plus. Reminiscent of Shakin Off The Dust, and previous company numbers, One Heart Beat shows the party scene of New York and emphasizes the characters of both old money and new money who crowd together in GATSBY’s grand parties, but in a great contrast to the desperation of Shakin Off The Dust with the amount of opulence it shows. It’s a little bit of a drag, as I feel it’s a little longer than it needs to be, but overall a great track in vocals, score, and choreography, with amazing comedic moments and a great execution of NICK and GATSBY’s first meeting, and leads perfectly into the next track.

a great party song, with a fantastic showcase of skills from the company and the lead actors and actresses. faithful to the story and the ideas of gatsby’s parties, and just such a fun song, despite possibly overstaying it’s welcome.

DEATHLESS SONG

GATSBY (FEAT. DAISY)

Gonna be real with you guys, I don’t remember this song at all. From what I recall, it happens after GATSBY solidifies plans for lunch with NICK. The song itself contains GATSBY detailing the motives behind his parties, talking about scanning every face in the crowd, obviously looking for DAISY. Towards the end of the song, DAISY enters, standing in front of the green light prop that exists on House Right, but she’s more of a vision and GATSBY does the classic reach out to her from across the pond, which is referenced in the book and the musical. It’s not a bad song, from what I remember, just very forgettable, and it has the problem of existing after a very fast paced moment. Gatsby: An American Myth’s largest issue seems to be timing and placement of songs, and this is an example of it, because it is so easily forgotten in between those that come before and after it. 

doesn’t feel fair to give this a review, but i’m gonna say it’s a little forgetable and boring, but absolutely something that would resonate with someone who is not me.

FEELS LIKE HELL

WOLFSHEIM, ENSEMBLE

We are so fucking back with this song. It’s incredible, and defies every stereotype of the “ boring old guy musical song that nobody likes,” by being just so well done. I could write a whole post on this song alone, but WOLFSHEIM as a character is just so monolithic, he takes up all the attention on stage, supported and only contested by GATSBY, who has incredibly unique blocking and choreography throughout the scene. In this song, WOLFSHEIM explains GATSBY’s rise to fortune through his help, and the idea of the American Dream in a way that feels so genuine and wildly inventive and creative. WOLFSHEIM manages to be such an amazing character, with so much personality and wit in ways that I don’t the book, the movie, or the other musical have managed to capture. While I will sing the praises of Adam Grupper all day, Isaac Powell’s performance as GATSBY is nothing to scoff at either, managing to transform himself from a young, naive man, to the GATSBY we know today, and doing so flawlessly. An amazing backstory song that blends rawness and wit into something spectacular. 

fantastic addition to the musical, and a dynamic number that never gets old and one that you always look forward to, with especially amazing performances from all cast members involved. i have a feeling that this song will turn out to be wildly underrated when the cast recording releases, but trust me, it’s great.

A SMILE LIKE THAT IS RARE

NICK, JORDAN (?)

You may notice the question mark next to JORDAN. I can’t fully remember if she has a singing role in this song, or only a speaking role, but it doesn’t really change the overall song. It is, even if JORDAN also sings, largely a NICK solo, as he comments on GATSBY’s charm. The song details GATSBY’s smile, and how his genuine joy is rare for the circles both JORDAN and NICK find themselves in, and it’s the beginning of NICK’s understanding about who DAISY is to GATSBY, as this all comes after NICK’s agreement to stage a tea meeting for the aforementioned characters to come together, which is what GATSBY wants. It leads into a larger song, as NICK’s hesitance to set up the meeting is met with JORDAN’s reassurance that it may turn out well, as she remembers GATSBY for the radiant joy he had around DAISY, and their relationship. It’s a bit of a filler song, but it’s pretty, with lyrics that show an understanding of the characters in the story’s feelings and moves the plot along in a way that doesn’t feel too forced or too slow. It’s small, it’s cute, it’s there. 

nothing too much to say. it’s a cute addition, and it does it’s job. it’s not anything special, but it’s well-written and well-performed, and has a very clean placement in the story itself.

MONTH OF LOVE

GATSBY, DAISY (FEAT. NICK & JORDAN)

Do I remember the lyrics? No. Do I remember how absolutely lovely this song was in essence and feeling? Yes! NICK and JORDAN watch on from a side of the stage as a young GATSBY and DAISY meet and fall in love, with JORDAN being implied to be telling their story to NICK. However, everyone other than DAISY and GATSBY seem to melt away during this song and the scenes within it, even if they’re still present on stage, which seems intentional and phenomenally done. DAISY and GATSBY pull the audience into their romance, with soft lyrics and a romantic backing to every word spoken and action taken, without it coming across too gaudy, fake, or unreliable to the book itself. This is a gorgeous song, and it really demonstrates the skills of the performers to be able to shift into their characters’ younger selves so well, with only a change in costume. A beautiful song, made even better by the tragedy you know will befall their romance.

dreamy, romantic, and gorgeous, everything gatsby and daisy remember their month together as seen from their and jordan’s memory. this number really makes us understand daisy and gatsby’s history in a way that wasn’t available before.

I’VE CHANGED MY MIND

DAISY, JORDAN, DAISY’S MOM (FEAT. GATSBY)

This song is so heartbreaking, it makes me physically ill. DAISY, on the day of her wedding to another man, receives a long-awaited letter from GATSBY, begging her to wait for him. So simple, yet so gut-wrenching, Daisy’s repeated lines of “I’ve changed my mind” show her youth and desperation so well, especially as her mother berates her and asks her to think of their good family name (“Love will fade, but our good name is forever.”) and the luxuries that DAISY has enjoyed her whole life. DAISY continues pleading, standing soaked in a bathtub (like, actually soaked), until the moment she is carried out and dragged to the wedding, and it’s such a deeply ruinous song that absolutely wrecks an audience. TOM is a looming, silent figure throughout this song, and JORDAN’s helpless worrying only adds to the desperation the song carries and the fear DAISY has, every element on stage working to make you see just how much DAISY is conflicted, scared, and naive. I’ve Changed My Mind shows the tragedy of The Great Gatsby that is always so delicious, and it’s nauseating how amazing this track is. The blocking, costuming, and subtle choices made (JORDAN picking up GATSBY’s letter from the bathtub where it dropped as DAISY gets carried away, before throwing it out, DAISY’s mother and JORDAN in black as though they are mourning) elevates this song to heights I’m obsessed with.

possibly one of my favorite songs of the show, with just phenomenal vocals, acting choices, blocking, and just everything that makes a song perfect. i’m obsessed with this track, and I think it’s a real showcase of the show at its best.

POURING DOWN

DAISY, GATSBY, NICK (KINDA), ENSEMBLE

I know I just spent 10 years absolutely showering I’ve Changed My Mind with praise, but Pouring Down manages to elevate to even higher heights as a track. At NICK’s house for tea, both GATSBY and DAISY are overwrought with stress and nerves, and are so awkward and tense they can find nothing to talk about but the stormy weather. It’s difficult to detail in words, because it sounds so simple, but the mixture of their voices and characters combine into something so awkwardly beautiful, emulating the true tense feelings behind reconnecting with an ex. The company aids in the vocals, especially later in the song as they move into GATSBY’s house, and NICK’s involvement in the scene is somehow both touching and incredibly comedic, adding some necessary levity without drawing too much focus to himself when unnecessary. It’s a beautiful, understated but near-perfectly constructed track, and I love it so dearly. Not to mention, the set design including led-lights that flash down in rain patterns during this scene has such visual appeal I can’t even find the right words to describe it.

a crucial addition, that shows both the comedic and tragic potential of the characters themselves, that adds such great character building and tension to the story that makes it absolutely delectable. it’s a treat for me, seeing and hearing this song. understated, simple, and yet so deeply complex and thought out, a real work of ART.

MR. NOBODY FROM NOWHERE

GATSBY, ENSEMBLE

BOOOO!!! Tomato, tomato. Okay, I joke, but in all seriousness, this song is GATSBY’s Golden Girl, if you know what I mean. It’s just so boring, especially as the Act One finale, and it’s just so disappointing because it’s obviously placed there so we can get a serious moment to end on, that centers around GATSBY himself, but it just lacks what the past two songs had and really dampers Act One’s momentum. I understand it’s neccessity, especially for setting up GATSBY’s character, and his relationship with the idea of being “nobody” and finally escaping that boudary with the love of DAISY as his crutch, because that is vital for later on, but I just find this style of ballad-esque solos very boring, basic, and uninspired, which is a shame for a show as dynamic and unique as Gatsby: An American Myth. It was okay, and it does something for GATSBY’s character, but that’s the best I can do.

again, we have another song who’s worst crime is being boring. it wouldn’t be so bad if it didn’t follow multiple fantastic songs, but it does, and it’s rough. there’s not a better place to put it, and there’s no getting rid of it, so we’re stuck. still mildly disappointing, although i’m sure every high school theater boy just cheered for another audition song for them.

JUST A LITTLE PARTY

MYRTLE, ENSEMBLE

Starting off Act 2 with a quiet bang, Just a Little Party is a subtly sinister take on the party scene of 1920s New York, with “the help” at the center of the song. Highlighting the hauntedness of Gatsby's parties and the way the lower class workers are essentially invisible to the party-goers and work jobs that are completely unnoticed every night and every day, it's a dark, but incredibly captivating performance. MYRTLE’s appearance as a maid to contrast the life she wishes she had, as one being served rather than the one serving, is incredibly tragic and adds depth to her character. Her appearance in the song as a whole elevates it, and it's just such a fun way to get dragged back into the world of the show.

absolutely gorgeous re-entry to the world of gatsby: an american myth, that used the entire company to their best, and was just an amazing performance. 10/10, no notes, i’m in love.

WELCOME TO THE NEW WORLD (REPRISE)

GATSBY, DAISY, NICK, JORDAN, ENSEMBLE (FEAT. TOM AND MYRTLE)

DAISY’s introduction to the party world that GATSBY has created for her is within this song, and it is absolutely perfect. Before I write anything else, it’s important to know that NICK and JORDAN shine in this song, especially showing the way that NICK has evolved to mold seamlessly with the upper-echelon’s party mindset that he was once uncomfortable with. It’s such a gorgeous, fun reprise with just the right amount of sinister to remind us that GATSBY and DAISY are on borrowed time, with the threat of TOM right around the corner. Such a fun beat, and a great callback to the original song. All the characters, including MYRTLE and TOM who don’t have singing roles in this song, are utilized so well in both acting and vocal talent and skill.

so fun, so perfect, and an amazing reprise! more fun to watch then the original in my opinion, although the lyrics probably aren’t as strong, or at least don’t change much from the original.

DRIVING MY WAY

MYRTLE

This is MYRTLE incredibly ironic breakup song to TOM, although framing it that way doesn’t do her justice. Post-party, MYRTLE is incredibly frustrated with TOM, and I would describe this song as a type of angry, break-up letter to him, essentially telling him that one day, he will have lost her, and he won’t be able to drive her way anymore. It’s tragic in the context of the show, and that tragedy comes from the hope that it has as a standalone track, but it’s still incredibly powerful in the moment and represents something important for MYRTLE, and the shows overall themes and ideas. It’s a very powerful song, and while that really rests on the power of the performer, it’s just a fantastic track. The costuming of MYRTLE during this scene, in the maid dress she wore to the party, lends so much to the powerless feeling MYRTLE feels like she gains with TOM, and it gives the ending, where she clearly states her power over him, so much more punch than it would’ve otherwise.

overall, myrtle really isn’t in a single song that’s bad, especially not ones focused on her, and the stage presence that is both written into myrtle’s character, and executed flawlessly by the performers, only served to make this piece so much more emotionally fufilling and shattering for an audience.

WHAT IS THIS WORSHIP?

GATSBY, DAISY, NICK, ENSEMBLE

What Is This Worship is by far one of the most dreamy, romantic tracks in the entire score, with a slightly sinister undertone, and it’s no wonder that it comes in the seemingly blissful, but secretive, days of GATSBY and DAISY’s reigniting of their romance. The melody and music tell a far different story than the lyrics themselves though, with the music airy and cloudlike, like a fairytale, and the lyrics painting a picture of doomed devotion. According to the song, GATSBY falls into depression the moment DAISY leaves, and places his whole value on her presence, which shouldn’t need to be explained as unhealthy to be understood that way. The choreography shows they can never get their hands off of each other, with GATSBY especially clinging to DAISY and the lyrics reflect such desperation. It’s just such a gorgeous song, and everything about it reflects the love of DAISY and GATSBY without straying from the original themes and intentions behind their relationship, and the complexities with idealism and “the american dream” that litter the relationship as a whole.

showstopper, amazing, and steamy without being gaudy or graphic. one of my favorite portrayals of gatsby and daisy’s romances done, like, ever!

WHAT WILL WE DO WITH OURSELVES 

GATSBY, DAISY, NICK, JORDAN, TOM, ENSEMBLE

shirts getting thrown off, daisy regrets, gatsby asks daisy to tell tom she never loved him

This song is so fucking long, and so fucking good. The whole song is just wrought with tension and stress and it genuinely made me almost claw into my seat, it was so nailbitingly good. Beginning in GATSBY’s home, with DAISY worrying about the past and how much time they’ve both lost, and what their future will look like together (“What will we do with ourselves / Today, and the next forty years”), the song immediately brings a sense of finality that we know is coming to the affair, highlighting DAISY’s insecurities and fears. However, they move on, with the song transitioning into DAISY and TOM’s home as DAISY and GATSBY prepare to tell TOM of the affair —with JORDAN and NICK being the unfortunate bystanders. This begins the “it’s too hot” repeated lyric, which shows the way that the environmental circumstances, along with the tension, are affecting everyone but TOM, unaware of the issue. Later on, TOM becomes more conscious of the affair when DAISY decides to drive with GATSBY, leading him to also remark on the heat later on. All in all, it’s a rich, tense piece of storytelling that relies on the actors’ abilities in the best possible way, highlighting all of the strengths of the amazing performances done.

stressful, nauseating, and just so deliciously good. a fire could’ve started during this song and i would’ve had no idea. i don’t really know how they’re going to split this song and what is this worship up, or how they’ll make it into the cast recording, but that doesn’t change the intense emotion raditating out of this song.

WHAT OF LOVE, WHAT OF GOD

MYRTLE, WILSON, ENSEMBLE

I NEED THIS SONG TATTOOED ON MY BRAIN. Anyway, this is my favorite song of the whole score. MYRTLE and WILSON are fascinating characters, and they’re love and dynamic is so stressful and so beautiful and so heartbreakingly, realistically tragic. WILSON’s desperation for MYRTLE to stay despite her affair is so clear in this song, alongside the clear anger and betrayal he feels for both himself, God, and his and MYRTLE’s deceased daughter. It’s genuinely so raw with emotion that it’s palpable, and MYRTLE doesn’t pull her punches either, with her clear exhaustion with WILSON’s excuses and her pessimism contrasting his optimism, which is a swap of their earlier roles in the story. The contrast between them is what really seals this, with WILSON (And what of love, and what of God?) and MYRTLE (Love will not save you here / ... / God will not save you here) showing clear the hopes that people had in America and how those hopes eventually are crushed. The shift in their personalities is evident too, and it’s just such a realistic depiction of the kinds of struggles they would face as fully fledged people, not characters. It’s so. Fucking. Good.

a really great song to pretend you’re fighting with someone to, if that makes sense. a really great song, period. i am getting a tattoo of these lyrics, and no one can stop me.

THE DREAM FOUGHT ON

DAISY, GATSBY (FT. TOM, MYRTLE, NICK, JORDAN, & ENSEMBLE)

DAISY is going to drive. That’s important for you to know. This is the scene, as in the scene where DAISY takes control of her life, for better or worse, removing herself from being the dream debutante, the dream wife, and then GATSBY’s American dream, and in doing so, taking back both control and the keys to the car from GATSBY. The Dream Fought On is about fighting for a dream, whether this be DAISY’s dream of breaking free from expectations, GATSBY’s dream of having DAISY, and MYRTLE’s dream of truly living, and finding a new life. This is where MYRTLE dies fighting for her dream, running in front of the car as DAISY drives, and the choreography and blocking of specifically this scene is phenomenal, along with the song’s blocking as a whole. While the song can be rather basic, and a pretty common and derivative take on the story, it’s still very well done, especially on stage, and especially with the acting of all those involved.

overall, it’s a great song that has the issue of a lot of acting moments around it, and being shelved in between multiple other far better songs, but still, it’s great. i feel like i’m forgetting something about it, but i’m fairly certain this is a reliable description.

THE DAMAGE THAT YOU DO

TOM, DAISY

If there were to be any song that beats out What of Love, What of God?, it would be this one. TOM and DAISY are such rancid people in this song, and it really highlights the ways TOM and DAISY behave similarly, which calls back to similar highlighting during Act Two’s opening that showed both DAISY and TOM’s affairs in the spotlight. It’s so good in ways I can’t describe, but it’s one of the other great argument songs on this track, and there’s a piece of lighting work I also really love in this song, where the spotlight kicks up from behind them and you can see dirt and blood on the bottom of both DAISY and TOM’s clothing, highlighting the blood and grime they both have on their hands and their consciousness, and how neither of them are clean people. I think it provides a lot of insight into why DAISY and TOM end up staying together.

VIGIL

GATSBY, NICK

GATSBY is going to take the fall for DAISY, and desperately wants NICK to validate this decision, which NICK struggles immensely in doing. This is, I believe, where NICK fully beings to understand the lengths that GATSBY has gone in only the pursuit of DAISY, how the entire empire he has built is for her, and how he will tear it all down for the chance of having her call, for the chance to protect her. This song, while sung by GATSBY and NICK, is more reminiscent of NICK’s point of view on GATSBY’s tragedy, rather than a real duet. NICK remarks that GATSBY is “standing vigil over nothing,” and when GATSBY asks NICK if he thinks DAISY will call, NICK decides to lie and say yes, despite his real beliefs. It’s a truly tragic song, if only in the sheer patheticness and desperation shown in GATSBY. I have, personally, never been one to dislike DAISY as much as many other readers of the book, but this song really hits hard, and really draws a lot of sympathy for GATSBY’s struggle and desperation for something, and someone, we all know isn’t coming.

it’s raw, it’s good, it’s tragic, and it’s all one big beautiful lie, and it’s just incredibly desperate and pathetic as a song, in the most loving, sympathetic way. it’s gonna be great, and people are going to love it.

AMERICA, SHE BREAKS

GATSBY, WILSON

Oh, I’m crazy. WILSON, similar to MYRTLE, is always going to be a smoking gun —see what I did there— of a character, bright and attention-grabbing and with such a loud but welcome stage presence. America, She Breaks is a perspective on the myth of the American dream from both GATSBY and WILSON’s perspective, as they lament on what the pursuit of this dream has lost them. This song genuinely leaves me speechless, a heavy tension and desperation running through the entire thing until the death of GATSBY and WILSON by WILSON’s own hand and handgun. It’s, strangely, a magical experience of a song, with it being wildly captivating and attention-holding. It’s a fantastic commentary on the themes of the show, and genuinely could’ve been a great ending to the show that wraps up the story and the themes, although it would leave parts of the book’s ending out. It’s just such a solid and genuine performance, and it always leaves the audience gasping.

this song drives me crazy. i am crazy. 

POURING DOWN (REPRISE)

NICK, JORDAN, GATSBY’S FATHER, COMPANY

This is where, ideally, the show would’ve ended if it didn’t end after America, She Breaks. The inclusion of GATSBY’s funeral, and the few mourners, alongside NICK and GATSBY’s father is well-done, and I absolutely adore GATSBY’s father being Native-American, which adds a whole new level to GATSBY’s character and desire to fit into the 1920s American dream. I’m not well-versed enough to speak on the representation, but I do think the idea of GATSBY being Native-American adds a lot to the story and adds complex, and interesting dynamics and themes to the overall script. I think this song specifically being a reprise of Pouring Down works well, and I think it’s an emotionally fitting ending to the show. 

emotionally fitting, a perfect mourning song, and a lovely and well-done reprise. incredibly solid as both a standalone song and a closing to the score and story as a whole.

BEFORE I GET INTO THE LAST SONG... I want to say that there are two places this show could’ve ended after this that I would’ve been happy with.

After NICK mentions to GATSBY’s father that DAISY didn’t even send flowers, GATSBY's father asks NICK who DAISY is. This works as a tragic ending, as it shows that GATSBY’s pursuits were largely for nothing, and no one will ever truly remember or understand the lengths that he went to for DAISY, along with being tragic due to the reminder that DAISY was not all that important to anyone else, and that she was only a dream of GATSBY’s, and not nearly as lifechanging for others. It just ties up DAISY and GATSBY’s relationship in a tragic little bow that I think works

And I would prefer this. NICK and WOLFSHEIM have a conversation about GATSBY after WOLFSHEIM doesn’t attend GATSBY’s funeral, that generally goes with NICK saying that GATSBY should’ve meant enough to WOLFSHEIM that he be bothered to go to the funeral, and WOLFSHEIM saying that GATSBY meant everything to him. WOLFSHEIM’s monologue ends with him saying that “[GATSBY] was a beautiful fool” and I think this makes for a good ending.

I’m sure there are other places that would make for a good ending, but not the one I’m about to tell you.

WE BEAT ON

FULL COMPANY

I hate it. I’m sorry, I hate it so much. We did not need a full company number at the end, it really just ruined it. It sucks so bad, I’m so sorry. I’m sure there’s a good reason to have it, maybe, probably, but my idea is that reason was just that they wanted the whole company on stage for bows, which is not a good enough reason to have this number included. It’s a boring song, with boring choreography, and I don’t think it serves a good enough purpose, or emphasizes the message of the show in any way. I believe that this song was only included to have the entire company onstage at the end of the show to prep the stage for bows, and nothing else. Sorry, but not really.

i’m a d1 hater of this song, and will be pretending it doesn’t exist.

so, that’s the scoop!

if you enjoyed this review, let me know. if you didn’t, that’s too bad, sorry about that. please follow me for more content, and feel free to ask me any more questions about this show, my experience with it, or content in general! i’m always down to chat, and i’m open to reviewing more scores, soundtracks, and/or albums! all the love, all the kisses, and have a fantastic day or night, wherever you are.

8.12.2024🍨 eleanor

[volcanicmudbubbles]

Jane Austen 🤝 F Scott Fitzgerald

From the beginning of The Great Gatsby, Nick repeating advice his father’d given him years ago:

“He told me … ‘Just remember that all the people in this world haven’t had the advantages that you’ve had.’ He didn’t say any more, but we’ve always been unusually communicative in a reserved way, and I understood that he meant a great deal more than that. …As my father snobbishly suggested, and I snobbishly repeat, a sense of the fundamental decencies is parcelled out unequally at birth.”

From the ending of Mansfield Park, Sir Thomas lamenting the way he raised his daughters:

“He feared that principle, active principle, had been wanting … To be distinguished for elegance and accomplishments, the authorised object of their youth, could have had no useful influence that way, no moral effect on the mind. He had meant them to be good, but his cares had been directed to the understanding and manners, not the disposition… He had brought up his daughters without their understanding their first duties.”

[preordainedplace]

‘i have to go back to the beginning’ (the social network original soundtrack - trent reznor & atticus ross, 2010 // the great gatsby - f. scott fitzgerald, 1925 // reuse the cels - car seat headrest, 2012 // how did they ever make a movie of facebook? - david fincher, 2010 // famous prophets (minds) - car seat headrest, 2011 // the blue period - ao3 user stilettodandelion, 2022 // snow and dirty rain - richard siken, 2005)

[dreaminginthedeepsouth]

Gustav Klimt, Schloß Kammer am Attersee IV., 1910

* * * * *

‘And so with the sunshine and the great bursts of leaves growing on the trees, (…) I had that familiar conviction that life was beginning over with the summer.’

[F. Scott Fitzgerald, The Great Gatsby, 1925]

Ina de Bree

[likeclarabow]

2023 Books Read

Our Wives Under the Sea - Julia Armfield (Dec 31-Jan 2)

See You Yesterday - Rachel Lynn Solomon (Jan 2-Jan 3)

All Dressed Up - Jilly Gagnon (Jan 4)

She Gets the Girl - Rachael Lippincott & Alyson Derrick (Jan 5-Jan 6)

Ready Player One - Ernest Cline (Jan 6-Jan 10)

Jamaica Inn - Daphne Du Maurier (Jan 10-Jan 13)

Greywaren - Maggie Stiefvater (Jan 14-Jan 16)

The Ballad of Never After - Stephanie Garber (Jan 17-Jan 22)

By the Book - Jasmine Guillory (Jan 22-Jan 24)

Portrait of a Thief - Grace D Li (Jan 25-Feb 4)

Pride and Prejudice (reread, audiobook) - Jane Austen (Jan 31-Feb 6)

Macbeth (reread) - William Shakespeare (Feb 6-Feb 10)

Normal People - Sally Rooney (Feb 18-Feb 22)

All the Dangerous Things - Stacy Willingham (Feb 23-Feb 25)

The Diary of Mary Berg - Mary Berg (Feb 17-Feb 27)

The Witch Haven - Sasha Peyton Smith (Mar 4-Mar 11)

Americanah - Chimamanda Ngozi Adichie (Feb 26-Mar 12)

The Witch Hunt - Sasha Peyton Smith (Mar 19-Mar 22)

Jonny Appleseed - Joshua Whitehead (Mar 19-Mar 28)

The Mysterious Affair at Styles - Agatha Christie (Mar 25-Mar 29)

Last Violent Call - Chloe Gong (Mar 30-Apr 1)

Beartown - Fredrik Backman (Apr 1-Apr 4)

People We Meet on Vacation (reread) - Emily Henry (Apr 5-Apr 7)

Notes on an Execution - Danya Kukafka (Apr 8)

Kiss Her Once For Me - Alison Cochran (Apr 8-Apr 10)

If You Could See the Sun - Ann Liang (Apr 11-Apr 15)

Murder at the Vicarage - Agatha Christie (Apr 15-Apr 19)

The Appeal - Janice Hallett (Apr 19-Apr 20)

The Black Spider - Jeremias Gotthelf (Apr 20)

Molly of the Mall - Heidi L.M. Jacobs (Apr 21-Apr 22)

The Dark Descent of Elizabeth Frankenstein - Kiersten White (April 23-Apr 25)

Sense and Sensibility - Jane Austen (April 26-Apr 28)

Happy Place - Emily Henry (Apr 29)

Us Against You - Fredrik Backman (Apr 30-May 3)

The Great Gatsby - F. Scott Fitzgerald (May 3-May 5)

Juniper and Thorn - Ava Reid (May 6-May 10)

Meet Me at the Lake - Carley Fortune (May 11-May 12)

Cloud Atlas - David Mitchell (May 12-May 19)

Anne of Green Gables (reread) - L.M. Montgomery (May 19-May 22)

Anne of Avonlea (reread) - L.M. Montgomery (May 24-May 26)

Anne of the Island (reread) - L.M. Montgomery (May 26-May 30)

The Winners - Fredrik Backman (June 2-June 6)

Rebecca - Daphne Du Maurier (June 7-June 8)

Peril at End House - Agatha Christie (June 9)

The Many Lives and Secret Sorrows of Josephine B (reread) - Sandra Gulland (June 11-June 12)

Tales of Passion Tales of Woe - Sandra Gulland (June 13-June 14)

The Last Great Dance on Earth - Sandra Gulland (June 14-June 15)

Frankenstein in Baghdad - Ahmed Saadawi (June 15-June 18)

Crooked House - Agatha Christie (June 22-June 24)

Northanger Abbey - Jane Austen (June 20-June 30)

I Must Betray You - Ruta Sepetys (June 30-July 1)

Pageboy - Elliot Page (July 2-July 4)

This Time It’s Real - Ann Liang (July 6)

The Last Word - Taylor Adams (July 6-July 7)

The Fiancée Farce - Alexandria Bellefleur (July 7-July 8) 

The Guilt Trip - Sandie Jones (July 8)

Camp Zero - Michelle Min Sterling (July 8)

The Berry Pickers - Amanda Peters (July 8-July 9)

Family of Liars - E. Lockhart (July 9-July 11)

The Last House Guest - Megan Miranda (July 11-July 12)

The Last Tale of the Flower Bride - Roshani Chokshi (July 14-July 21)

Rolling in the Deep (audiobook) - Mira Grant (July 20-July 21)

Wunderland - Jennifer Cody Epstein (July 21-July 23)

The Stationary Shop of Tehran (July 24-27)

Yellowface - R.F. Kuang (July 27-July 29)

These Violent Delights - Micah Nemerever (July 29-Aug 3)

Wuthering Heights - Emily Brontë (Aug 3-Aug 5)

Begin Again - Emma Lord (Aug 6-Aug 8)

Medicine Walk - Richard Wagamese (Aug 8-Aug 12)

419 - Will Ferguson (Aug 16-Aug 19)

Harlem Shuffle - Colson Whitehead (Aug 21-Aug 24)

Ballet Shoes (reread) - Noel Streatfeild (Aug 25-Aug 26)

Songs for the Missing - Stewart O’Nan (Aug 28-Aug 31)

You’re Not Supposed to Die Tonight - Kalynn Bayron (Sept 1-Sept 2)

I’ve Got Your Number - Sophie Kinsella (Sept 2)

The Adult - Bronwyn Fischer (Sept 3)

Nine Liars - Maureen Johnson (Sept 4-Sept 6)

Small Things Like These - Claire Keegan (Sept 6)

The Honeys - Ryan La Sala (Sept 15-Sept 19)

20,000 Leagues Under the Sea - Jules Verne (Sept 12-Sept 20)

Beowulf - Unknown (Sept 8-Sept 21)

The Mirror Crack’d From Side to Side - Agatha Christie (Sept 21-Sept 25)

Better Than the Movies - Lynn Painter (Sept 26-Sept 30)

Annihilation - Jeff VanderMeer (Oct 4-Oct 7)

And Don’t Look Back - Rebecca Barrow (Oct 7)

Hallowe’en Party - Agatha Christie (Oct 8-Oct 9)

Cannibal Island - Nichlolas Werth (Oct 9-Oct 22)

The Final Gambit - Jennifer Lynn Barnes (Oct 17-Oct 22)

Stalin’s Nomads: Power and Famine in Kazakhstan - Robert Kindler (Oct 16-Oct 24)

Six of Crows (reread) - Leigh Bardugo (Oct 25-Oct 30)

Crooked Kingdom (reread) - Leigh Bardugo (Nov 3-Nov 7)

Sadie (reread) - Courtney Summers (Nov 9-Nov 10)

The Invisible Man - H.G. Wells (Nov 6-Nov 13)

Hamlet - William Shakespeare (Nov 6-Nov 13)

A Good Girl’s Guide to Murder (reread) - Holly Jackson (Nov 11-Nov 15)

Good Girl, Bad Blood (reread) - Holly Jackson (Nov 15-Nov 18)

As Good as Dead (reread) - Holly Jackson (Nov 20-Nov 23)

Red White and Royal Blue (reread) - Casey McQuiston (Nov 25-Dec 5)

The Secret History - Donna Tartt (Dec 18-Dec 22)

The Day of the Jackal - Frederick Forsyth (Dec 24-Dec 25)

Emily Wilde’s Encyclopaedia of Faeries - Heather Fawcett (Dec 25-Dec 27)

Murder in the Family - Cara Hunter (Dec 28)

Three Holidays and a Wedding - Uzma Jalaluddin, Marissa Stapley (Dec 29)

The Book of Cold Cases - Simone St James (Dec 30-Dec 31)