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This is the valley of ashes — a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens; where ashes take the forms of houses and chimneys and rising smoke, and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air.

With its crumbling men, the valley of ashes plainly evokes that other biblical valley of death, and this miserable stretch of land borders the road where Myrtle Wilson will die under the wheels of the car driven by Daisy. But like the pink clouds, it lacks solidity and dissolves. The difference between the vision of Gatsby’s mansion and this earth is that money does not disguise mortality here. The gaping cracks of poverty are fully visible.

Nevertheless, among the residents of this ashen valley is Myrtle Wilson, the only person in the novel to whom Fitzgerald assigns “vitality.” The word is used three times in reference to Mrs. Wilson, Tom Buchanan’s working-class mistress: “… there was an immediately perceptible vitality about her as if the nerves of her body were continually smouldering.” As Nick passes Wilson’s gas station in a car, he sees her “at the garage pump with panting vitality.” And in death: “The mouth was wide open and ripped at the corners, as though she had choked a little in giving up the tremendous vitality she had stored so long.” It is this vivid life, not her character, that makes Myrtle Wilson’s death tragic. A silly and coarse woman, she is nevertheless more sympathetic than her lover, Tom, who is worse: stupid and violent. Between them, however, there exists a real sexual energy that isn’t found elsewhere in the novel. The narrator’s attraction to Jordan is tepid at best, and Gatsby’s fantasies about Daisy seem curiously unerotic. The slender girl has no body to speak of. She seems to be made of her beautiful clothes and her beautiful voice. It is hard to imagine Gatsby actually having sex with Daisy. It’s like trying to imagine a man taking a butterfly. And although her marriage to Tom has produced a daughter, as a mother Daisy communicates detachment. She coos endearments at the child, Pammy, and then dismisses her. Only once in the novel is the reader reminded of Daisy as a creature of flesh and blood, and, significantly, it is through a finger her husband has bruised. Daisy looks down at the little finger “with an awed expression.” “You didn’t mean to,” she says to Tom, “but you did do it.” The passage is not only a premonition of Tom’s brutality that erupts horribly in New York when he breaks Myrtle’s nose or of Myrtle’s bruised and opened body on the road. Daisy’s awe expresses her remote relation to her own body and to mortality itself, which her money will successfully hide, not forever, of course, but for now.

What Tom and Myrtle have that Jay and Daisy don’t is a personal relation, with its attendant physicality and mess. That is why, after admitting to Nick that Daisy may have once loved Tom “for a minute,” Gatsby comforts himself by saying, “In any case, it was only personal.” What Gatsby has been chasing all these years is neither personal nor physical. Its transcendence may have been lodged in the person of Daisy, but it is not limited to her. Her very shallowness makes Gatsby’s dream possible. But Myrtle Wilson is not a simple incarnation of the flesh and its weaknesses. She harbors dreams as well. As it does for Gatsby, her intangible wish finds form in an object. In her drawer at home, wrapped in tissue paper, Mr. Wilson finds the expensive dog leash Tom once bought for her to go with the dog he also bought. The dog didn’t come home. The useless, beautiful thing is a sign of absence, a string of absences, in fact — the dog, the lover, and the emptiness of desire itself. Just as the green light shining from Daisys house may be counted among Gatsby’s “enchanted objects,” one he loses when Daisy actually enters his life again, the dog leash possesses a kind of magic. It is the tissue paper that makes me want to cry, that sends this frivolous possession into another register altogether, that imbues the silver-and-leather dog leash with the quality of true pathos.

The tangible and the intangible collide to cast a spell. But can a person or thing ever be stripped naked? Can we ever discover reality hiding under the meanings we give to people and things? I don’t think so. And I don’t think Fitzgerald thought so either. His book meditates on the necessity of fiction, not only as lies but as truths. The play between the material and the immaterial in The Great Gatsby is riddled, not simple. The fairy tale contains the valley of ashes as well as the castle by the sea, the heavy weight of the corpse and the pretty bodies blown in the wind. And which one is more real than the other? Is death more true than life? Are not dreams as much a part of living as waking life is? The book goes to the heart of the problem of fiction itself by insisting that fiction is necessary to life — not only as books but as dreams, dreams that frame the world and give it meaning. Nick imagines Gatsby at the pool just before Wilson kills him. The man has understood that there will be no message from Daisy, that the great idea is dead.

He must have looked up at an unfamiliar sky through frightening leaves and shivered as he found what a grotesque thing a rose is and how raw the sunlight was upon the scarcely created grass. A new world, material without being real, where poor ghosts, breathing dreams like air, drifted fortuitously about… like that ashen, fantastic figure gliding toward him through the amorphous trees.

This passage tells of dramatic change, but it is not a change from illusion to reality, from enchanted nature to real nature. This world may be new, but there are ghosts here, and they are fantastic. It is now a world made of matter, but that matter is no more real than the magic lights and music of the summer parties that went before it.

One can argue that nearly every word of dialogue uttered in the novel, every exchange, and every event is ordinary. Tom Buchanan and the poor Wilsons are glaringly limited and unattractive. Gatsby’s business partner, Wolfsheim, is clever and dishonest without the grandeur of being satanic. Daisy’s charm is not revealed in anything she says. Gatsby converses in a stiff and cliched manner that sets Nick back on his heels. Jordan is a cheat. These characters do not elevate themselves above the crowd. They are not remarkable people, and yet to read this novel is to feel as if you have taken a walk in a fairy wood, as if while you are reading you glimpse the sublime.

The magic is in the book’s narration, in its shades of sunlight and darkness, its allusions to folk tales, to music, songs, to dusty dance slippers and bright voices. Better than any other writer I know, Fitzgerald captures the tipsy aura of parties, that slight glazing of the mind that dawns after two glasses of champagne. The ordinary world trembles with adjectival enchantment here — Fitzgerald’s prose is dense with surprising adjectives. Although some of his characters are glib, the narrator is not. The sorcery that infuses the book cannot be explained as the golden effect of money, although that is part of it, or even by youth. They are mostly very young, these people, and life still holds an unwrapped newness for them. Nick Carraway’s voice carries a deeper understanding of enchantment, which at once grounds and elevates the narration. It returns us to the beginning. The father’s words render up a world in which every human being, no matter how flawed, is granted an essential dignity. Remember, every person is a product of his own history, one that is not necessarily like yours. He or she has come out of a particular story, and to judge that man or woman is not fair unless you know the story. The advice is a call to empathy, the ultimate act of the imagination, and the true ground of all fiction. All characters are born of this effort to be another person. And its success is rooted in the grounded self. The “carelessness” of Tom and Daisy manifests itself in flightiness. Unballasted, they flit from one place to another, and their wealth only facilitates their disconnectedness. Yet we trust Nick, this man who speaks to us, and we believe him when he says, “I am one of the few honest people that I have ever known.” And we trust his imaginings, because the imaginary is crucial to his tale. He did not witness Gatsby’s murder. He cannot be Gatsby, but he says, “He must have …” Nick Carraway’s voice bears the conviction of his empathy.