November 20, 1924
I think you have every kind of right to be proud of this book [The Great Gatsby]. It is an extraordinary book, suggestive of all sorts of thoughts and moods. You adopted exactly the right method of telling it, that of employing a narrator who is more of a spectator than an actor: this puts the reader upon a point of observation on a higher level than that on which the characters stand and at a distance that gives perspective. In no other way could your irony have been so immensely effective, nor the reader have been enabled so strongly to feel at times the strangeness of human circumstance in a vast heedless universe. In the eyes of Dr. Eckleberg various readers will see different significances; but their presence gives a superb touch to the whole thing; great unblinking eyes, expressionless, looking down upon the human scene. It’s magnificent!
I could go on praising the book and speculating on its various elements, and means, but points of criticism are more important now. I think you are right in feeling a certain slight sagging inchapters six and seven, and I don’t know how to suggest a remedy. I hardly doubt that you will find one and I am only writing to say that I think it does need something to hold up here to the pace set, and ensuing. I have only two actual criticisms:
One is that among a set of characters marvelously palpable and vital—I would know Tom Buchanan if I met him on the street and would avoid him—Gatsby is somewhat vague. The reader’s eyes can never quite focus upon him, his outlines are dim. Now everything about Gatsby is more or less a mystery, i.e., more or less vague, and this may be somewhat of an artistic intention, but I think it is mistaken. Couldn’t he be physically described as distinctly as the others, and couldn’t you add one or two characteristics like the use of that phrase “old sport”—not verbal, but physical ones, perhaps. I think that for some reason or other a reader—this was true of Mr. Scribner and of Louise—gets an idea that Gatsby is a much older man than he is, although you have the writer say that he is little older than himself. But this would be avoided if on his first appearance he was seen as vividly as Daisy and Tom are, for instance—and I do not think your scheme would be impaired if you made him so.
The other point is also about Gatsby: his career must remain mysterious, of course. But in the end you make it pretty clear that his wealth came through his connection with Wolfsheim. You also suggest this much earlier. Now almost all readers numerically are going to be puzzled by his having all this wealth and are going to feel entitled to an explanation. To give a distinct and definite one would be, of course, utterly absurd. It did occur to me, though, that you might here and there interpolate some phrases, and possibly incidents, little touches of various kinds, that would suggest that he was in some active way mysteriously engaged. You do have him called on the telephone, but couldn’t he be seen once or twice consulting at his parties with people of some sort of mysterious significance, from the political, the gambling, the sporting world, or whatever it may be. I know Iam floundering, but that fact may help you to see what I mean. The total lack of an explanation through so large a part of the story does seem to me a defect—or not of an explanation, but of the suggestion of an explanation. I wish you were here so I could at least make you understand what I mean. What Gatsby did ought never to be definitely imparted, even if it could be. Whether he was an innocent tool in the hands of somebody else, or to what degree he was this, ought not to be explained. But if some sort of business activity of his were simply adumbrated, it would lend further probability to that part of the story.
There is one other point: in giving deliberately Gatsby’s biography, when he gives it to the narrator, you do depart from the method of the narrative in some degree, for otherwise almost everything is told, and beautifully told, in the regular flow of it, in the succession of events or in accompaniment with them. But you can’t avoid the biography altogether. I thought you might find ways to let the truth of some of his claims like “Oxford” and his army career come out, bit by bit, in the course of actual narrative. I mention the point anyway, for consideration in this interval before I send the proofs.
The general brilliant quality of the book makes me ashamed to make even these criticisms. The amount of meaning you get into a sentence, the dimensions and intensity of the impression you make a paragraph carry, are most extraordinary. The manuscript is full of phrases which make a scene blaze with life. If one enjoyed a rapid railroad journey I would compare the number and vividness of pictures your living words suggest, to the living scenes disclosed in that way. It seems, in reading, a much shorter book than it is, but it carries the mind through a series of experiences that one would think would require a book of three times its length.
The presentation of Tom, his place, Daisy and Jordan, and the unfolding of their characters is unequaled so far as I know. The description of the valley of ashes adjacent to the lovely country, the conversation and the action in Myrtle’s apartment, the marvelous catalogue of those who came to Gatsby’s house—these are such things as make a man famous. And all these things, thewhole pathetic episode, you have given a place in time and space, for with the help of T. J. Eckleberg and by an occasional glance at the sky, or the sea, or the city, you have imparted a sort of sense of eternity. You once told me you were not a natural writer—my God! You have plainly mastered the craft, of course; but you needed far more than craftsmanship for this.
As ever,——Maxwell E. Perkins
Published in Editor to Author—The Letters of Maxwell Perkins edited by John Hall Wheelock (1950). Text scanned from F. Scott Fitzgerald: The Man and His Work, ed. by Alfred Kazin (Cleveland: The World Publishing Company, 1951).