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Moorea Moylan
Mrs. Terry
AP English
11 April 2013
The Questionable Narrator: Nick Carraways Influence on The Great Gatsby
The chosen style of narration in F. Scott Fitzgeralds The Great Gatsby is an exemplary
model of a successful first person narrative. Unlike the majority of novels written in first person,
Fitzgerald focuses the action of the story not on the narrator himself but on a grander character.
Jay Gatsby evokes incredulous scorn and crushing empathy through his exorbitant brilliance of
wealth and his hopeless devotion to the unattainable Daisy. Nick Carraway, the storys narrator,
paints an image of Gatsby that portrays him as a tragic hero, a victim of his own righteous ways.
Yet the actions of Jay Gatsby fall out of synch with Nicks interpretation; Gatsby appears to have
malicious intent according to other characters, as determined through their dialogue. Nicks
perception of Gatsby and reality itself are inconsistent with that of other characters in the novel,
leading the reader to feel distrustful of the narrator. There is considerable evidence to suggest
that Nicks rendering of the plot
in The Great Gatsby is delusory, contradictory to Nicks claim
of absolute sincerity of manner. Behaviors such as refraining from social action and omittance of
personal details suggest Nick is psychologically incapable of reporting an accurate story.
1.) Nick has an uncomfortable demeanor, making him refrain from social integration into
the Long Island society. Nick remains silent often, allowing others to interrupt him and state
their own opinions. This is useful in the development of other characters personalities, but
leaves the reader unsure of Nicks stance on topics. This is clear from the outset of the novel; he
is awkward starting at the first dinner with the Buchanans. In the course of a few pages in
chapter one, Nick is unable to speak on three different occasions. First, when Jordan suggests

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that Nick must know of Mr. Gatsby, he is interrupted by Daisy. Nick writes, Before I could
reply that he was my neighbor..., which suggests that he would have given the information he
knew and would have received new information on his neighbor (Fitzgerald 16). Nick is not
respected by the Buchanans; if he was they would not have interrupted him so rudely. Nicks
absence from the scene shows his role as an observer, but suggests that Nick, writing the
narrative at a later time, could have controlled the dialogue to fit his own agenda. Because of his
utter lack of activity throughout the dinner, the entire scene could be fictional, a creation of
Nicks imagination. Coleman theorizes that Nick uses the story as a tool to insist that Gatsby
turns out okay in the end (Fitzgerald 6). Coleman explores how far Nick could use this tool to
influence the story, By insisting from his narrative's outset on its hero's happy ending, Nick sets
for himself an essentially elegiac ambition: to ensure that his readers come to the last page of the
novel convinced that Gatsby is something gorgeous. Nicks comment at the beginning of the
novel is deceiving; it changes the whole dynamic of the story. The reader is shocked at the end of
the story when Gatsby is unexpectedly murdered. Gatsby being the main focus of the story, how
can the story itself be trusted if the outcome given at the outset is a lie. With this unreliability
unveiled, it is clear that any power Nick may possess to make Gatsby tum out all right is not
given but accomplished; any ring of authority his words may achieve will never be pure but,
instead, always colored by his struggle to achieve it. Nicks desired outcome will be a constant
influence on the plot of the story, whether Nick realizes this himself or not.
2.) The narrator is unaware of his psychological deficiencies, causing the reader to be
ignorant to Nicks inconsistencies with time, setting, and character descriptions. As with his
unreliability with Gatsbys outcome, there are several aspects in the novel that mirror this effect,

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such as descriptions of the world around Nick. To keep the focus of the novel on Gatsby, the
story is filled with numerous gaps in time, especially when gaps would be filled with experiences
belonging to Nick alone. The information he releases pertaining to himself is almost nonexistent.
The consequence of this is that the reader is unable to determine Nicks motives as he analyzes
the world around him or what has caused him to become the man he is. This is shown when Nick
glosses over many of the quotidian details that would have comprised his life and occupied his
mind during his time in New York City and on Long Island (Bolton). As with his experience
with the girl he dated from Jersey City, the information about her and that relationship is
summarized in the course of one sentence. This relationship could have had a substantial impact
on Nicks perspective, as the story is centered on the love affair between Gatsby and Daisy.
Omittance of details seems innocent enough, but when it occurs so frequently in a story it
becomes suspicious. Nick fails to mention his participation in World War I until someone else
brings it up. Surprising as it would seem this war would be a meaningful part of Nick's life, he
mentions it in passing as his excuse for not attending Tom and Daisy's wedding, but it is Gatsby
who really introduces Nick's World War I experience into the narrative (Bolton). The reader
feels somewhat betrayed by Nick coming across this information; such significant information
should not be so easily glossed over if the narrator is supposedly reliable. Yet it is evident that
Nick believes that he can omit the truth without compromising his basic honesty (Bolton). The
most startling omittance occurs after the party at Tom and Myrtles apartment. In a tumultuous
scene where Tom hits Myrtle, Nick and a man attending the get-together, Mr. McKee, sneak
swiftly away from the drama. A controversial exchange occurs where Mr. McKee and Nick
discuss a lunch date together. Several subtly sexual references are included and a jump in time

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occurs. First the two men are in an elevator together, travelling downstairs after leaving the
party. There is an ellipses, then Nick describes an odd scene, with a man, presumably Mr.
McKee, sitting up between the sheets, clad in his underwear, with a great portfolio in his hands
(Fitzgerald 42). A list of names, presumably the names of the photographs in the portfolio, are
given. Another ellipses and four hours has passed; Nick is waiting in a train station. What this
scene means is a constant source of debate as it is so ambiguous and thought evoking. But the
most pressing question is the question of reliability; Nick has left the reader oblivious to the
events that manifest between the hours of 12:00 A.M. and 4:00 A.M. Nicks actions during this
time frame could drastically influence the story, yet the reader will never know how. Nick is
unaware of the consequences of these silences; he is too absorbed in the action surrounding
Gatsby.
Nicks fascination with Gatsby remains a mysterious action as the reader is left without a
concrete reason for Nicks connection with him. The narrator clearly has a profound attachment
to Gatsby as demonstrated with his constant analysis of him. What draws Nick to Gatsby a
mystery, however there are several possibilities, the first being the interplay between his own
story and Gatsby's, for both men have come from the Midwest to New York because of women:
Nick in flight from one, Gatsby in pursuit of another (Bolton). Nick appears abnormally enticed
by the presentation of wealth in the novel, from the houses in West Egg to the Buchanans to
Gatsbys absonant mansion. He is mesmerized by the houses in his neighborhood, referring to
them as palaces (Fitzgerald 11). Nick appears intimidated by the Buchanan home, its red color
overwhelming him at first glance. Gatsbys home represents extravagance to Nick, with Gatsbys
unmatched parties thrown with devotion to a certain women. Nick has told the reader that he

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lived a privileged childhood, leading the reader to question his attitude of utter admiration for
those with money. Nick is untroubled witnessing adultery, which could mean his lack of emotion
on the subject or a repression of them. This essential information is lacking in the novel, leaving
a significant gap in the understanding of Nick and the story itself. A description of his background
could serve significant understanding to the reasons why he tells the story in the way that he does

Not only is the representation of time subjected to the consequences of Nicks inabilities,
but setting is affected just as drastically. Nick often gives inaccurate depictions of objects and
scenes around him. Gatsbys car is first introduced as station wagon that scampered like a brisk
yellow bug to meet all trains (Fitzgerald 43). This description gives the car a light-hearted
connotation by comparing it to a bug. However, its yellow color is what is to be most noted. In
the next chapter of the novel, Nick has a conversation with Gatsby as he is polishing his car.
Nick presents the reader with a new image of the car, calling it a rich cream color, bright with
nickel (Fitzgerald 68). The color cream has quite a different meaning than yellow with color
symbolism. Cream can represent purity, calmness, and elegance. Yellow can represent
dishonesty, cowardice, and corruption. These contrasting descriptions of the station wagon are
confusing to the reader; somehow, Nick is unable to decide on the color. This is due to Nicks
obvious manipulation of the story; he changes the description of the car based on his perception
of the situation. When Nick feels distrustful of Gatsby, the car is yellow; when he decides to be
his friendly neighbor, the car is cream. Nicks descriptions are both erratic and inaccurate,
causing the reader a great deal of confusion throughout the novel. Nick is painfully unaware of
his manipulation of the story and proceeds in a careless manner, leaving in his path an inaccurate
plot.

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Nick treats character descriptions in the same manner; Daisys physical description
changes several times throughout the novel. While Nick describes Daisy as blonde in some
scenes, in others she is unmistakably brunette; she is almost described as blonde and brunette in
The Great Gatsby. Yet most readers come away from the novel convinced that Daisy is blonde
and fair skinned (Korenman). Daisys personality does much to support her being blonde.
Korenman compares Daisy to the pot of gold at the end of the rainbow, the fair-haired princess
of the fairy tales, due to her ditzy personality and her heroine like manner. Korenman writes
that she shares traits with fair-haired heroines of the romantic tradition (Korenman). Yet
Daisys cynical and seductive qualities might be associated with dark-haired women. Daisy
shares with them an unsheltered exposure to life that defies the fair-haired, innocent Daisy
(Korenman). Daisy is both women; the careless, innocent blonde and the irresistible, devious
brunette. Nick uses these hair colors to differentiate between the two sides of Daisy. He is
incapable of understanding a Daisy with multiple facets; he judges people too quickly, he can
only able to interpret one at a time.
3.) Contrary to Nicks preliminary statements concerning judgements of others, the
narrator quickly judges others. Scott Donaldson, an esteemed biographer of American authors,
notes that Nick judges, and condemns, practically everyone he meets in the course of the novel
(Donaldson). Believing that Nick holds a basic contempt for all mankind, Donaldson comes to
the conclusion that Nick voluntarily avoids all lasting relationships with other characters. The
author uses Nicks relationships with Jordan, the mysterious girl back home, and the briefly
mentioned girl from the accounting department to illustrate Nicks distance from everyone he
encounters. Nick first meets Jordan at the Buchanans, where he describes her as strange, saying

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that she had her chin raised a little as if she were balancing something on it which was quite
likely to fall and he felt as if he had disturbed her by coming in (Fitzgerald 13). His stark
observation of Jordan shows his tendency to be judgmental; this image of Jordans raised chin
evokes a sense of pride and superiority which follows her character throughout the novel. From
the outset, Nick has distanced himself from this character with this ascertainment. Nick later
describes Jordan as having a wan, discontented face (Fitzgerald 19). This is quite a rude
statement about Jordan, considering Nick has just met her. It is a part of his strategy to keep
himself distant from others. He proves this when he abruptly ends his short relationship with
Jordan over a telephone call, following Myrtles death. Nick cannot express himself to others,
which is why he makes this announcement over the phone. When Jordan calls Nick at work, the
conversation is cool and quick. Jordan inquires if Nick would be willing to come into town to see
her when he replies that it would not be possible. Nick explains the rest of the conversation by
saying, We talked like that for a while and then abruptly we werent talking any longer. I dont
know which of us hung up with a sharp click but I know I didnt care (Fitzgerald 163). This
sentence shows his disdain for Jordan, his apathy toward her. It puts a convenient end to their
relationship, without Nick having to put any effort into maintaining it or resolving problems.
Nick uses this same strategy in the relationship he has fled from with the woman in the
Midwest. According to Daisy and Tom, there were rumors of their engagement. Nick refutes
this, saying it is simply a rumor. Yet to the reader, Nick admits he knows about what they are
talking about, explaining, You cant stop going with an old friend on account of rumors and on
the other hand I had no intention of being rumored into marriage (Fitzgerald 24). He mentions
that this is a part of why he moved east in the first part. Nick left the Midwest without thinking

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of what this would mean for the woman; rumors would nonetheless circulate as a result. Instead,
he left as it was the easiest resolution to his own problems. Always running away from
relationships when they become the least bit difficult. His selfishness is evident, and becomes
even more evident after Nick goes on a date with Jordan Baker. Before his relationship with
Jordan goes any further, Nick writes, I knew that first I had to get myself definitely out of that
tangle back home. Id been writing letters once a week and signing them: Love, Nick
(Fitzgerald 64). Not only had Nick left the Midwest to escape this woman, but he continued to
lead her on during his time in the East while he is dating Jordan. The irony of this situation is
that directly following this, Nick claims that he is guilty of one of the cardinal virtues--honesty.
This statement is laughable considering the information he has just disclosed; he has been lying
to two women for at least a couple months. Nick is hardly trustworthy; judging by the
information concerning Nicks treatment of women, he is a very unreliable man.
Nick mentions a short relationship with a woman who worked in the accounting department. His
brevity in description suggests a lack of effort in this relationship. He writes that her brother
began to give him dirty looks, so he decided to let the relationship go (Fitzgerald 61). He
waited until the girl took a vacation and then cut her off, abstaining from contact with her. This
behavior demonstrates Nicks cruelty towards women and his undeniable self-absorption. Nicks
inability to form lasting relationships is troubling due to his role as a narrator; if Nick remains so
detached from those in his life, how can he be trusted to convey an incredibly intricate story?
Nicks cool attitude towards other characters implies detachment and disengagement in the
plight of other peoples lives, which sways many readers to believe that Nick is
overwhelmingly egotistical.

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4.) Gatsby is crowned the hero of the novel, the selfless martyr by Nick who views
everyone else with disdain. Yet other characters in the book dislike him by the end, as with Tom,
Daisy, Wilson, and most of the mans party guests. Why is Nicks perspective on Gatsby so out
of synch with every other character? This is because his analysis is distorted, colored by the
existence of grief surrounding Gatsbys death. Nick attempts to convince the reader throughout
the novel of Gatsbys ultimate supremacy. As previously mentioned, Nick announces at the
outset of the novel that Gatsby turns out alright in the end. Seeing that this is absolutely
counterfactual, as Gatsbys murder concludes the tale, the entire story is really just a game
whose outcome has been decided ahead of time, a fight rigged from the start (Coleman).
Gatsbys death is inevitably at the end, and the book itself could be Nicks way of mourning the
loss of his friend. Yet Nick is unable to silence that skepticism in himself which whispers
against any simple faith in his heroNick's control of the narrative is always uncertain and his
ability to bring Gatsby to a happy ending is always in doubt (Coleman). Due to this statement
given at the beginning of the book, the entire book is given to agnosticism. Without it, the ending
would have been a surprise; with it, the ending is a shock.

Several times through the novel, Nick cannot make up his mind as to whether he supports
or condemns Gatsby. Following Gatsby and Daisys demise, Nick says to Gatsby, Theyre a
rotten crowd, I shouted, across the lawn. Youre worth the whole damn bunch put together!
(Fitzgerald 162). Nick quietly prides himself on this comment and is pleased he said it. As he is
walking away, he admits that he disapproved of him from beginning to end (Fitzgerald 162).
Yet this is inconsistent with his assertions made earlier in the novel. Upon first meeting Gatsby,
Nick describes him with obvious admiration. This admiration borders worship in this context; his

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in-depth description is surprising:

He smiled understandingly much more than understandingly. It was one of those rare
smiles with a quality of eternal reassurance in it, that you may come across four or five
times in life. It faced or seemed to face the whole external world for an instant, and
then concentrated on you with an irresistible prejudice in your favor. It understood you
just so far as you wanted to be understood, believed in you as you would like to believe
in yourself, and assured you that it had precisely the impression of you that, at your best,
you hoped to convey (Fitzgerald 52).
This unexpected description gives the reader insight into Nicks first impression of Gatsby. As
noted, Gatsby denounces most characters; the existence of this positive monologue exemplifies
Nicks glorification of Gatsby, as he does again at the end of the novel with his conclusive
statement to Gatsby.
In order to make sense of Gatsby, Nick must attempt to impose form on Gatsbys dream,
which in itself is irrational (Lynn). Gatsbys chases after the unattainable with admirable
dedication, leaving Nick baffled. Nick recognizes the absurdity of Gatsbys claims and attempts
to keep them at a distance by paraphrasing and explaining his words after directly quoting them.
This articulation gives Gatsby a voice not otherwise heard through simply direct quotation. This
narration strategy is used throughout the book in order to give form to the phantom-like Gatsby.
6.) Nick judges Daisy, Jordan, Tom, Myrtle, Mrs. McKee, Mr. McKee harshly upon
meeting them. This is ironic because of the advice Nick describes to readers at the beginning of
the novel, a piece of advice from his father. His father told him that because others were not born
with the same advantages, he must try to refrain from judging them. Although Nick believes

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himself to be a tolerant person, he makes judgments firmly about characters as he believes

evil may be clearly enough determined (Hanzo). This shows Nicks inconsistency that is
present throughout the novel. Nick is aware of this limit to toleration but does not believe
toleration to be the same thing as indifference, which allows him to pass judgment on other
characters (Hanzo 287). As long as he refrains from acting on these judgments, Nick feels it is
not going against his fathers advice. Behavioral irregularities do not escape Nicks laser eye,
as he takes in all around him and analyzes to the deepest extent. Upon encountering Tom
Buchanan, Nick says Tom had a rather hard mouth and a supercilious manner. Two shining
arrogant eyes had established dominance over his face and gave him the appearance of always
leaning aggressively forward (Fitzgerald 17). Nicks first words about Tom are negative and
noticeably judgmental, which shows Nick as a hypocrite. Daisys description is less harsh but
decisive; he believes that she uses her voice to get attention and is quite a ditz. In an interesting
scene in Tom and Myrtles apartment, Nick calls Mrs. McKee shrill, languid, handsome, and
horrible (Fitzgerald 34). This is the first time Nick has mentioned the woman, yet his first words
denounce her. Can a narrator so decisive and irrational be trusted; when will he change his mind
again?
Nick proves to be more than meets the eyes after reading The Great Gatsby. His style of
narration is inconsistent and leaves gaps throughout the story. His claim of adoption of an
attitude of tolerance towards others is a lie. Yet Nick believes in the necessity of his detachment
from others in order to remain an outsider in a world of indifferent chaos (Parkinson). He uses
the time he saves as a passive narrator to brood over the events that occurred in the story and
how they change the circumstances of the story. While the story itself could be the complete

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creation of Nick Carraway, the novel exemplifies the spectrum of human emotion and
psychological depth. (Hypocrisy of the 20s, etc.)

Works Cited
Bolton, Matthew J. "CRITICAL READINGS: "A Fragment Of Lost Words:" Narrative Ellipses
In The
Great Gatsby." Critical Insights: The Great Gatsby (2010): 190-204. Literary Reference
Center. Web. 26 Mar. 2013.
Coleman, Dan. "CRITICAL READINGS: "A World Complete In Itself:" Gatsby's Elegiac
Narration."
Critical Insights: The Great Gatsby (2010): 159-189. Literary Reference Center. Web. 27
Mar. 2013.
Donaldson, Scott. The Trouble with Nick. Critical Essays on F. Scott Fitzgeralds The
Great Gatsby. Ed. Scott Donaldson. 131-139: Boston: G. K. Hall & Co, 1984. Print.
Hanzo, Thomas. The Theme and the Narrator of The Great Gatsby. The Great Gatsby: a
study.
Ed. Frederick J. Hoffman. 286-296: 1962. Print.
Korenman, Joan S. "'Only Her Hairdresser ': Another Look At Daisy Buchanan." American
Literature: A Journal Of Literary History, Criticism, And Bibliography 46.4 (1975):
574-578. MLA International Bibliography. Web. 31 Mar. 2013.

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Lynn, David H. Within and Without: Nick Carraway. Major Literary Characters Gatsby. Ed.
Harold Bloom. 178-188: New York: Chelsea House Publishers, 1991. Print.
Murphy, Terence Patrick. "Defining The Reliable Narrator: The Marked Status Of First-Person
Fiction." Journal Of Literary Semantics 41.1 (2012): 67-87. Literary Reference Center.
Web. 27 Mar. 2013.
Parkinson, Kathleen. F. Scott Fitzgerald The Great Gatsby. Ed. Bryan Loughrey.
113-119: 1987. London: Penguin Group, 1988. Print.
Schneider, Daniel J. "CRITICAL READINGS: Color-Symbolism In The Great Gatsby." Critical
Insights: The Great Gatsby (2010): 246-254. Literary Reference Center. Web. 31 Mar.
2013.