It’s only a matter of time before artists flood the market with “Gatsby” spinoffs of every kind. After F. Scott Fitzgerald’s 1925 novel, “The Great Gatsby” was released to the public last January, writers, satirists, playwrights and with musicians clawing at each other’s throats to perform the greatest “Gatsby.” The ensuing melee left fans with a salmagundi of “Gatsby”-related content to absorb.
As expected, the effectiveness of these works of art has been confirmed. The most promising of these upcoming spinoffs is “The Great Gatsby, A New Musical.” The musical ensemble features the songwriting talent of indie music artist Florence Welch of Florence + The Machines, and the literary talent of Pulitzer Prize-winning songwriter Martyna Majok. Although no schedule has been set yet, fans of the novel are hopeful for its release.
A wide variety of literary works are collected from bibliophiles. Michael Farris Smith’s novel “Nick,” a prequel to “The Great Gatsby,” describes the life of narrator Nick Carraway before he moves to West Egg. Carraway’s indifference is what marks him as the most unhinged and stuck in Fitzgerald’s story. Smith traces Nick’s past in the trenches during World War I and his futile attempts to erase the horrors he witnessed through fun, violence and action. bad. Nick has a Caulfield-esque style and a level of subjectivity that his voice in “The Great Gatsby” doesn’t offer.
“The Chosen and the Beautiful,” a novel by Nghi Vo, aroused similar levels of interest. Vo’s story is set from the perspective of one of Fitzgerald’s strongest supporters, Jordan Baker. In a bold twist of hope, Vo’s Baker is an Asian woman. The story borrows heavily from the magic realist tradition, adding a new level of mystique to the fascinating story. Although it is closely related to the original idea of ”The Great Gatsby,” it gives the tone a mysterious quality that is similar to its charm.
… And The Not So Much
Alas, not all spinoffs are created equal.
Every true retelling of “The Great Gatsby” has its irony. Amazon’s most absurd stories will show countless bastardizations of the work, freely available for public consumption. For example, Dick C. Hesse’s “The Great Gatsby: But Nick has Scoliosis” is a retelling of Fitzgerald’s work, with one difference: Nick Carraway has scoliosis. Nothing in this specification advances the design or development of the model; It seems that Hesse’s main reason for creating the novel was “because I could.”
It doesn’t end there by any means. Even ignoring the abundance of homoerotic Gatsby/Carraway fanfiction, we still find ourselves with a veritable plethora of bad trips to New York. “The Great Gatsby Undead” by Kristen Briggs tells the classic story with one key twist: Jay Gatsby is a vampire. In contrast, “The Greater Gatsby”, an AI-generated novel using Fitzgerald’s work as a source material, does not mince words when describing inspiration. his printing. The Amazon synopsis clearly states that “the book was created in an attempt to become a part of history, as ‘The Great Gatsby’ enters the public on January 1, 2021.”
Will the “Gatsby” Adaptations Live Up to the Original?
There’s a “The Great Gatsby” spin-off for every flapper-at-heart, whether you’re in the market for a well-made remake, or an attempt at comedy. However, to “Gatsby” purists, it’s too much.. It seems like the public is trying to do what Jay Gatsby didn’t: They’re trying to recreate the past.
On the one hand, the legacy of “The Great Gatsby” has grown beyond the story itself; a literary leviathan, uncontrollable. In a sense, it is impossible to defile a legacy anywhere.
On the other hand, the attempt to repeat or compete with Fitzgerald’s work is a green light at the end of the dock, which is impossible in itself. No act of literature is perfect, but “The Great Gatsby” is the closest. Only Fitzgerald’s novel deserves the book’s status in the American literary canon. However, it is the story, the tragic universal story of hopelessness and futile love that captures the human spirit.
Repetition is a fool’s errand. There is no other “Gatsby,” and therein lies his greatness.
A madman to write the next “Gatsby” poem is a feat filled with vapid wannabes. They don their glittery outfits and dance the night away, reveling in their own decadence. They embody the beauty of excess; in their desperate efforts for fame, they twisted their way into oblivion.
The man behind it does little to reveal himself. He has no need. The real thing doesn’t need to be advertised, and if you want to cut through the pieces of nonsense and deception, you’ll find it where you left off. When the guests go home and the music dies down, when the drinks run out and the golden glow of fun fades, we find that “Gatsby” and Gatsby have not been moved.
Well, the novelty of such things cannot stir the public imagination. I’ll be sorry if I say I don’t care about these sequels, retellings and spinoffs. However, at the end of the day, the original text will be left on my nightstand until it’s finished. The party was great, and I couldn’t wait to meet the interesting guests, but I refused to be swayed by it.
At the end of the night, I chose to leave him and stand behind the man on the edge of the pier. I choose the quiet longing, the unattainable distance. I choose to lose myself in the impossible for the romanticism of it. When I choose the green light, I choose to believe it more than anything else, because that’s what “Gatsby” does.