Political Theory and the Great Gatsby
Political Theory and Gatsby
In his article "'A New World, Material Without Being Real': Fitzgerald's Critique of Capitalism in The Great Gatsby," Ross Posnock establishes Fitzgerald's interest in Marxism by placing him as a Nietzschean Marxist and contemporizing him with Georg Lukacs's History and Class Consciousness, printed in 1923, and with Marx's theories by extension, attempting to "demonstrate how deeply Marx's critique is assimilated into the novel's imaginative life," although he is careful to point out that Fitzgerald "does not share their abhorrence of capitalism" [201]. Posnock offers a close reading of material objects and Gatsby's subsequent mystification with them to analyze the conflict between the individual and society, Nietzsche and Marx. I would suggest a revision to Posnock's analysis of The Great Gatsby, reidentifying the material world Posnock places as "Gatsby's" as that of the Buchanans, with Gatsby an implicit imposter.
As Habermas summarizes, Nietzsche's theory of knowledge is replaced by a perspectival theory of the affects whose highest principle is "that every belief, every taking-for-true, is necessarily false because there is no true world" [Habermas 122]. In analyzing the material acquisitions of Gatsby, Posnock seems to demonstrate how Gatsby attempts to create himself, to make his world real, through the material values of the Buchanans. Yet his past and his characteristics, his "old sport" catchphrase, are all a smokescreen diverting us from knowing the true character of Gatsby. Nietzsche would seem to offer the explanation that there is no real Gatsby.
Coppola similarly provides a material reading of Gatsby in the opening sequence of his screenplay, as he moves the audience from Gatsby's cars to his concert Steinway, crystal decanters, a toilet set of pure dull gold, rows and rows of fine suits (plus one military uniform), and an emerald ring [Coppola 1-3]. Posnock and Coppola seem to see a system of material
In his article "'A New World, Material Without Being Real': Fitzgerald's Critique of Capitalism in The Great Gatsby," Ross Posnock establishes Fitzgerald's interest in Marxism by placing him as a Nietzschean Marxist and contemporizing him with Georg Lukacs's History and Class Consciousness, printed in 1923, and with Marx's theories by extension, attempting to "demonstrate how deeply Marx's critique is assimilated into the novel's imaginative life," although he is careful to point out that Fitzgerald "does not share their abhorrence of capitalism" [201]. Posnock offers a close reading of material objects and Gatsby's subsequent mystification with them to analyze the conflict between the individual and society, Nietzsche and Marx. I would suggest a revision to Posnock's analysis of The Great Gatsby, reidentifying the material world Posnock places as "Gatsby's" as that of the Buchanans, with Gatsby an implicit imposter.
As Habermas summarizes, Nietzsche's theory of knowledge is replaced by a perspectival theory of the affects whose highest principle is "that every belief, every taking-for-true, is necessarily false because there is no true world" [Habermas 122]. In analyzing the material acquisitions of Gatsby, Posnock seems to demonstrate how Gatsby attempts to create himself, to make his world real, through the material values of the Buchanans. Yet his past and his characteristics, his "old sport" catchphrase, are all a smokescreen diverting us from knowing the true character of Gatsby. Nietzsche would seem to offer the explanation that there is no real Gatsby.
Coppola similarly provides a material reading of Gatsby in the opening sequence of his screenplay, as he moves the audience from Gatsby's cars to his concert Steinway, crystal decanters, a toilet set of pure dull gold, rows and rows of fine suits (plus one military uniform), and an emerald ring [Coppola 1-3]. Posnock and Coppola seem to see a system of material