A Quote by Kerry Bishe

The Romanoffs are like the other side of 'The Great Gatsby.' 'Gatsby' is about the people who don't have the history but who want it. And 'The Romanoffs' is about the people who have it and don't know what to do with it.
Personal identity seems like it's just such an American archetype, from Holly Golightly re-inventing herself in 'Breakfast At Tiffany's' to Jay Gatsby in 'The Great Gatsby.' It seems like the sort of archetypal American issue. If you're given the freedom to be anything, or be anyone, what do you do with it?
The Gatsby that I remember reading when I was 15 years old in junior high school was far different from the Gatsby I read as an adult.
It’s Fitzgerald’s thin-but-durable urge to affirm that finally makes Gatsby worthy of being our Great American Novel. Its soaring conclusion tells us that, even though Gatsby dies and the small and corrupt survive, his longing was nonetheless magnificent.
I think everyone has some sort of connection to Gatsby as a character... he's created himself according to his own emotions and dreams and lifted himself by his bootstraps from a poor kid in the Midwest and created this image that is The Great Gatsby and it's a truly American story in that regard.
Gatsby turned out all right at the end; it is what preyed on Gatsby, what foul dust floated in the wake of his dreams that temporarily closed out my interest in the abortive sorrows and short-winded elations of men.
i could have told him to learn from Gatsby. from the lonely, isolated Gatsby, who also tried to retrieve his past and give flash and blood to a fancy, a dream that was never meant to be more than a dream.
"Oh, you want too much!" she cried to Gatsby. "I love you now - isn't that enough? I can't help what's past." She began to sob helplessly. "I did love him once-but I loved you too." Gatsby's eyes opened and closed. "You loved me too?" he repeated. "Even that's a lie," said Tom savagely. "She didn't know you were alive. Why - there're things between Daisy and me that you'll never know, things that neither of us can ever forget."
In such novels as This Side of Paradise and The Great Gatsby, Fitzgerald depicts the spirit of the hour which is usually about 4 a.m. His suave young men, always commuting between Princeton and The Plaza in Stutz Bearcats never sat still for long. It was too uncomfortable, with a large flask in the hip pocket.
I read 'The Great Gatsby' in high school and was hypnotized by the beauty of the sentences and moved by the story about the irrevocability of lost love.
If you wanted to show a mirror to people that says, 'You've been drunk on money,' they're not going to want to see it. But if you reflected that mirror on another time they'd be willing to. People will need an explanation of where we are and where we've been, and 'The Great Gatsby' can provide that explanation.
All good American literature is always interested in people who are ambiguously heroic, like Gatsby.
I developed a mania for Fitzgerald - by the time I'd graduated from high school I'd read everything he'd written. I started with 'The Great Gatsby' and moved on to 'Tender Is the Night,' which just swept me away. Then I read 'This Side of Paradise,' his novel about Princeton - I literally slept with that book under my pillow for two years.
Empathy lies at the heart of Gatsby, like so many other great novels-the biggest sin is to be blind to others problems and pains. Not seeing them means denying their existence.
Images sometimes capture particular periods in history. The unreachable green light, beckoning from across the bay in 'The Great Gatsby,' has become a symbol of the yearning of America in the 1920s.
There might be children in Somalia or the Arctic who have never heard of 'Hamlet' or the 'Great Gatsby.' But you can bet they know 'Tarzan.'
You can't not like "The Great Gatsby." It's got the best sentences in, like, ever.
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