Seeing him then, you knew he would remake the world for the object of his desire, but what a world it would be, and it wasn’t as if you could stop him. I knew Gatsby right then for what he was: a predator whose desires were so strong they would swing yours around and put them out of true.
I knew that there was something empty in him before, but now I could see that it wasn’t empty all the time. Now there was a monstrous want there, remorseless and relentless, and it made my stomach turn that it thought itself love.
The Great Gatsby has the distinction of being the only novel I was assigned to read in high school that I actually enjoyed. I liked a few other books where I got to choose from a list, but, while I liked a number of the plays (at least as much as I ever enjoy reading plays, which are meant to be performed), I came out of English classes with a visceral hatred of almost every novel from our reading lists. That Lord of the Flies is a book without any redeeming quality is an opinion formed in that crucible that I carry with me to this day and I have such distaste for it that I will never give it another chance.
I would be hard-pressed to tell you what, specifically, resonated with me differently about The Great Gatsby when I was in high school. I like Fitzgerald’s prose, but that is a later assessment. I also fondly remember the playlist project that the teacher assigned for the project, but I suspect that fondness stems from my appreciation of the book rather than the other way around.
What I like about Gatsby now is how Fitzgerald captures the ambiance of a period. This emerges in the character of Gatsby, obviously, who cloaks his personal reinvention in the glamour of the jazz age in order to hide the unsavory underbelly of insecurity, selfishness, and criminality. But it comes out in other ways as well. For instance, none of the main characters in this narrow, interpersonal story is much more sympathetic than Gatsby—even the narrator Nick Carraway is a creep who is chased away from a woman he is pursuing by her brothers. Fitzgerald also nods at the deep inequities of the period with metaphors like the valley of ashes that could easily have manifested as magical realism in literature of another generation.
Gatsby‘s limited perspective as narrated by Carraway also makes it ripe for a retelling, in much the same way that Kamel Daoud’s The Mersault Investigation inverted the Albert Camus’ The Stranger.
Such is the premise of Nghi Vo’s The Chosen and the Beautiful. Gatsby, as told by Jordan Baker, with a healthy dose of magic, and a title that is a play on another Fitzgerald Novel (The Beautiful and the Damned).
I had fixed feelings about this book.
First, the good.
Jordan Baker is an inspired choice of narrator for this book. Fitzgerald leaves the women of Gatsby unrealized, and this is true of Jordan even more than Daisy. Jordan appears primarily as an object of Nick’s lust, and disappears for long stretches of the novel. However, this provides an opening that allows Vo to expand the story beyond the heat of one New York summer, giving life to Jordan and Daisy’s experience in Louisville where, among other issues, Jordan helps Daisy acquire a medicine that will induce an abortion.
Vo transformed Jordan in compelling ways. This Jordan is not a biological member of the Louisville Baker clan, but an adopted child taken from Tonkin under dubious circumstances. This background offer an explanation for Jordan sitting on the periphery of the story in Gatsby, while also giving a vehicle for Vo to bring up contemporary issues like immigration restrictions that go unmentioned in the original.
I also appreciated how much of the original story that Vo weaves into The Chosen and the Beautiful, which made the language and story appear as a genuine homage to a classic novel. I felt similarly about the frequent and varied sexual encounters. One of the questions in the supplementary materials at the back of the book prompted discussion about whether the book ought to be read differently because many of the main characters are queer. I found these elements to be a natural extension of the sensuality on display in the original. Fitzgerald’s characters only talk about heterosexual encounters and desires, but it seems like a small jump to add homosexual liaisons in a world drenched in sweat, sex, and alcohol. Non-hetero-normative sex is hardly a modern invention.
Other aspects of The Chosen and the Beautiful gave me more trouble.
One of the biggest was how Vo incorporated magic into the story. Most of the magic in this novel is lightly done—ghosts that haunt family homes, charms against pregnancy, and simple tricks that ensure that unwanted guests can’t find their way into a speakeasy. Other magic, such as Gatsby having sold his soul and trafficking with the denizens of Hell or a demon’s blood tonic that is prohibited alongside alcohol, were closer to the heart of the action, but largely peripheral to the plot. Only one type of magic, an ability to bring cut-paper objects to life that Jordan has because of her foreign heritage, plays a significant role in the plot.
I went back and forth on these magical elements the entire time I read The Chosen and the Beautiful. On the one hand, they were a natural extension of the metaphors Fitzgerald used in Gatsby and the magic in this book might be read as a form of metaphor. On the other hand, though, I found that going from the light touch off metaphor, past magical realism, and into the realm of actual magic took me out of the era. That is, the sense that a house is haunted by the ghosts of the past works for me in a way that actual ghosts do not. Gatsby appearing as a man possessed, entirely consumed by his selfish desire for a married woman, works in a way that his being a literal envoy of Hell did not.
Hell was as expansionist as France or England—and Jay Gatsby, with his singular focus and ability to harness the power of human desire, was the perfect envoy to gain them a foothold in the world above.
Ultimately, I found that the magic resulted in one too many things going on, which, in turn, distracted from the really compelling ways in which Vo put The Chosen and the Beautiful into conversation with Gatsby on issues of immigration, class, and gender. There is still a lot to like, but I thought that this limitation kept the linguistic flourishes at the level of pastiche and kept Vo from quite achieving the book’s promise: reviving aura of Gatsby that so incisively commented on its time, but in an entirely new hue.
I spent most of the first weekend after the end of my semester ended reading, with the result that I plowed through Jin Yong’s A Hero Born (a kung-fu movie in novel form), Harvey Levenstein’s Paradox of Plenty (a history of eating in the United States from 1930 to 1991), Angélica Gorodischer’s Kalpa Imperial (fantasy stories that resemble Calvino’s Invisible Cities in many ways), and Mick Herron’s Slow Horses (a really satisfying spy story that I was willing to read despite wanting the recent TV adaptation because this is typically the only genre that I don’t mind such adaptations). I hope to write about a few of these. I am now working through two books, Jonathan Malesic’s The End of Burnout and Olga Tokarczuk’s The Books of Jacob.