APEnglish–Los Al

Period 4

Class began a little noisy (so it was just like every other day).

As people calmed down and Nicolette got kicked out, we began our discussion of Great Gatsby. I started things off with question number four, doing an okay job, and Mr. Eldridge finishing where I stopped. We were asked to identify why the Valley of Ashes and Myrtle’s apartment are juxtaposed. My response was that since the apartment was on the top floor, Myrtle is trying to escape to a higher class, but since the apartment is small and the furniture is too big, it’s just not working out. This should have led to a deeper analysis: the smallness of the apartment…the oversized furniture…the wreckless party: they’re not all great. But they’re supposed to be great; after all, the only reason the Valley of Ashes exists is for Manhattan to be great (and have a place to put all its dump from making the city). But as one moves from the Valley of Ashes into Myrtle’s apartment, one sees that the so called “greatness” of the apartments (Manhattan) does not even out or balance the lowly Valley of Ashes. It could be said that there are ashes inside and out. They’re inescapable.

Question five regarded Myrtle’s personality. Myrtle is a bush, which in Greek mythology is very important to Aphrodites, the Goddess of love. Myrtle therefore is linked to this. Mr. Eldridge did a fantastic impression of Myrtle, laughing, legs kicking, yelling “Daisy.” She lives for the moment, as she tells Tom upon first meet, “You can’t live forever.”

For a complete explanation of the Tapestry in chapter two, refer to Mr. Eldridge’s essay that I can’t find a link to. In short summary, the Garden of Versailles, being organized and bent to man’s reason, serves as a mocking display of the order and class that Myrtle and her guests betray. Specifically at the end of chapter 2 when blood gets on the Tapestry: it becomes a grotesque garden, which can be compared to the Valley of Ashes, also a grotesque garden (link to question 4).

As for Nick, we see him switching back and forth between a romantic and realistic viewpoint. He has out of body experiences, imagining how nice a sweet escape must be on the upper floor of a building, but then returns and realizes how disgusting the party is; he is drawn, and feels as if ropes bind him to a chair (romantic), but wants to leave because of the reality of the party. He is captivated and disgusted, curious and…disgusted.

“It had occurred to me that this shadow of a garage must be a blind, and that sumptuous and romantic apartments were concealed overhead, when the proprietor himself appeared in the door of an office, wiping his hands on a piece of waste.”

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