A Quote by Azar Nafisi
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.
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I thought of Gatsby's wonder when he first picked out the green light at the end of Daisy's dock. He had come a long way to this lawn and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him. [- Nick Carroway]
I have lived most of my life with the conviction that I don't dream, because I never could retrieve a dream.
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.
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.
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.
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.
In visions of the dark night I have dreamed of joy departed- But a waking dream of life and light Hath left me broken-hearted. Ah! what is not a dream by day To him whose eyes are cast On things around him with a ray Turned back upon the past? That holy dream- that holy dream, While all the world were chiding, Hath cheered me as a lovely beam A lonely spirit guiding. What though that light, thro' storm and night, So trembled from afar- What could there be more purely bright In Truth's day-star?
God can dream a bigger dream for me, for you, than you could ever dream for yourself. When you've worked as hard and done as much and strived and tried and given and pled and bargained and hoped... Surrender.
When you have done all that you can do, and there's nothing left for you to do, give it up. Give it up to that thing that is greater than yourself, and let it then become a part of the flow.
"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."
I dream dark dreams. I dream of a figure moving through the forest, of children flying from his path, of young women crying at his coming. I dream of snow and ice, of bare branches and moon-cast shadows. I dream of dancers floating in the air, stepping lightly even in death, and my own pain is but a faint echo of their suffering as I run. My blood is black on the snow, and the edges of the world are silvered with moonlight. I run into the darkness, and he is waiting. I dream in black and white, and I dream of him. I dream of Caleb, who does not exist, and I am afraid.
What is it? Nothing. I had a bad dream. What did you dream about? Nothing. Are you okay? No. He put his arms around him and held him. It's okay, he said. I was crying. But you didnt wake up. I'm sorry. I was just so tired. I meant in the dream.
I am told, in a dream you can only get the answer to all your questions through a dream. So in my dream, I fall asleep, and I dream, in my dream, that I'm having that absolute, revealing dream.
The best work of literature to represent the American Dream is 'The Great Gatsby' by F. Scott Fitzgerald. It shows us how dreaming can be tainted by reality, and that if you don't compromise, you may suffer.
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?
And, after boasting this way of my tolerance, I come to the admission that it has a limit. Conduct may be founded on the hard rock or the wet marshes, but after a certain point I don’t care what it’s founded on. When I came back from the East last autumn I felt that I wanted the world to be in uniform and at a sort of moral attention forever; I wanted no more riotous excursions with privileged glimpses into the human heart. Only Gatsby, the man who gives his name to this book, was exempt from my reaction—Gatsby, who represented everything for which I have an unaffected scorn.
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