The rapid connection of plot strands which brought into physical incidence the numerous affairs and hostilities that resolved, however bleakly, the novel's various impasses, make somewhat absurd an otherwise brilliantly grounded work. And yet, Fitzgerald has been characterized by his critics as demonstrating the utmost of disclipline with Gatsby for creating a work so fraught with symbolism and yet relayed in so direct and palatable a fashion. As Eble

"(Fitzgerald, 2) the image of personality, the "self as process" (Bloom, 189), parallels that of reality as process. Gatsby's own character is for its most part invented, dreamed up into reality, according to a plan he had made when he was nineteen. Fitzgerald's novel is thus an extremely subjective vision of the world, in which the author has a very important voice. As in all modernist novels, reality is obliterated

My appearance was always good and my ability to play on the piano, especially ragtime, which was then at the height of its vogue, made me a welcome guest."(Johnson, 139) Nevertheless, this only increases his feeling that he does not belong to his own race, and his sense that everything is a bitter irony. As the hero passes as a white man, he is forced many times to listen

American Lit Definition of Modernism and Three Examples Indeed, creating a true and solid definition of modernism is exceptionally difficult, and even most of the more scholarly critical accounts of the so-called modernist movement tend to divide the category into more or less two different movements, being what is known as "high modernism," which reflected the erudition and scholarly experimentalism of Eliot, Joyce, and Pound, and the so-called "low modernism" of later

Hemingway, Fitzgerald and Cather share a bond when it comes to style and framing fiction with language. Words are not simply meant to describe a character or scene; they can help round the story through how they are arranged. Fitzgerald illustrates how language can blossom around particular aspects of characters and ideas. Hemingway and Cather demonstrate how short, concise sentences can enhance a scene by increasing tension. Style emerges as

" (Fitzgerald, 61) Also, the way in which Charles checks himself when he starts bragging about his business in front on Lincoln reveals the same weariness and desperation: "Really extremely well,' he declared...'There's a lot of business there that isn't moving at all, but we're doing even better than ever. In fact, damn well...My income last year was bigger than it was when I had money. You see, the Czechs