Queer readings of Gatsby and Passing (AO5)

Nick’s interactions throughout the novel

Nick is heavily implied by Fitzgerald to be a homosexual character through his descriptions of certain characters and his interactions with them. He initially describes Tom’s ‘great pack of muscle shifting when his shoulder moves’ and details how ‘not even the effeminate swank of his riding clothes would hide the enormous power of that body. Nick also has interactions with Mr McKee in chapter 2 that heavily hint to them being attracted to each other and possibly sleeping together - ‘keep your hands off the lever’ ‘I wiped from his cheek the spot of dried lather that had worried me all afternoon’ ‘I was standing beside his bed and he was sitting up…clad in his underwear’. His interactions on the train in chapter 7 also heavily hint to him being queer as he 'hands the handkerchief back to the woman ‘by the extreme tip of the corners’ and details how ‘anyone should care in this heat whose flushed lips he kissed’ about the train conductor.

Nick and Gatsby

Despite supposedly being in love with Jordan, Nick spends the whole novel talking about/obsessing over Gatsby and the admiration, intimacy and yearning in their relationship can be characterised as queer. Nick describes Gatsby throughout - ‘his tanned skin was drawn attractively on his face’ and ‘one of those rare smiles with a quality of eternal reassurance’ in ways that can be viewed through a queer lens. Furthermore Gatsby often wears flamboyant clothing in pink and lavender colours - ‘he wears a pink suit’ which could be read as a symbol of fluidity in his sexuality and identity. Nick’s descriptions of the pink suit are phrased romantically - ‘his gorgeous pink rag of a suit’ while Tom’s disapproves of it, foregrounding it as a gay sign due to his homophobic view - reinforcing it as a sign of Gatsby’s sexuality.

Jordan

Jordan can be interpreted as an androgynous character as she is described by Nick as ‘a slender small breasted girl with an erect carriage which she accentuated by throwing her body backwards at the shoulders like a young cadet’ - this masculine description reinforces how Nick sees her which reflects both his possible sexuality and her possible gender identity. Her name is also androgynous and she is depicted by FSF as having masculine traits such as playing golf and being self reliant - not bound by marriage or motherhood. She also represents the traditional flapper which often included a ‘boyish’ style and lack of adherence to traditional gender roles - shown through her partying and casual dating. Nick also describes how ‘she wore her evening dress…like sports clothes’. All of these references could also be hints to Jordan’s possible lesbian identity.

The Chosen and Beautiful

A queer retelling of Gatsby by Nghi Vo told from Jordan’s perspective in which she is a queer, Vietnamese woman

Nick

A common interpretation exists that Nick is a queer character due to his complex relationship with Gatsby. He has a very close relationship with Gatsby, he idealises him and is always willing to take his side which can be read as Nick harbouring romantic or sexual attraction to him. He also constantly admires him and refers to his ‘gorgeousness’. While he has a relationship with Jordan, Nick rarely mentions it and seems merely infatuated with her not in love of obsessed with her like he is with Gatsby. He also views her in a masculine way which further reinforces his possible sexuality. As a character it can be argued he reinforces the novel as one of exploration of sexual identity. He also turns 30 without being engaged/married/having a serious relationship with a woman, fitting the profile of thousands of young men who discovered they were gay during WW1. It also remains meaningful that he focuses on Gatsby & Jordan - the 2 other characters who could be associated with ambiguous sexual/gender identity.

The Yellow Dress Twins

One of the subtle clues to a queer reading/queer subtext is presented through the portrayal of same sex ‘doubles’ at Gatsby’s parties that function as lesbian signs - the twins look alike, talk alike and are seemingly inseparable. The 1974 film version even depicted them dancing together at the party in a sexual manner.

Nick’s projection of queerness

It can be argued the descriptions of Jordan and Gatsby that Nick narrates are created to be sexually ambiguous because we see them through Nick’s eyes and his views are influenced by his projection of his own homosexual desires. It is also possible to say that he may be sensitive to the queer aspects of Gatsby and Jordan because he shares the same traits. The novel’s sexual ambiguity may stem from Nick closeting his own queer desires from others and himself.

Judith Butler on queer interpretations of Passing

Argues the text emphasises the question of what was acceptable to speak about at the time through the larger question of the dangers of public exposure of both colour and desire. States that Clare embodies a kind of sexual daring that Irene defends herself against as Clare is not held by marriage - Irene is drawn into both wanting to be her and be with her.

Deborah McDowell on queer interpretations of Passing

Argues Irene’s most glaring delusion throughout is her feelings for Clare & that Larsen employs imagery of fire and heat from the beginning which reflect the conventional representation of sexual desire. Furthermore the awakening of Irene’s erotic feelings for Clare coincides with her imagination of Clare & Brian’s affair - suggesting that she is projecting her own disowned developing desire for Clare onto Brian. Clare is both the embodiment and object of the sexual feelings Irene desires but the radical implications of that plot are put away by the disposal of Clare.

Irene’s repressed desire for Clare

Larsen makes it clear throughout that Irene feels affection and attraction to Clare - ‘what was it about Clare’s voice that was so appealing and seductive’ ‘inexplicable onrush of affectionate feeling’ ‘the seduction of CK’s smile’ ‘that wide mouth like a scarlet flower against the ivory of her skin’ ‘under the appeal, the caress, of her eyes, Irene had the desire, the hope, that this parting wouldn’t be the last’ - it is credible to argue however that she represses this desire in order to maintain her heteronormative image under the scrutiny of societal pressure. She would have faced many risks from the dominant groups in society and her own marginalised community and therefore is never able granted the opportunity to fully accept and own all of the social categories to which she belongs.

Irene and Brian

It can be argued that her adherence to heteronormative marriage through Brian is merely a reflection of societal expectations and pressures due to the enforcement of heterosexuality, not Irene’s true desires. She doesn’t appear affectionate/intimate or in love with Brian, simply using him to maintain her social standing and reputation as a member of the black bourgeoisie - ‘Irene didn’t like changes, particularly changes that affected the routine of her household’. Furthermore she describes Brian as ‘extremely good looking’ but ‘not of course pretty or effeminate’, suggesting her own homosexual preferences and that her view of him is reinforced by societal expectations not her own attraction to him.

Irene’s view of Clare and Brian

Her creation of their alleged affair reflects a projections of her repressed sexual feelings for Clare onto Brian and also a fear that she has grown too close to Clare and she can no longer keep her distant to ignore her feelings - so she villainises her instead. This links to the end where she talks about the possibility of killing Clare which could reflect a complete desire to erase the root of her homoerotic feelings that are disturbing her life so she can return to the socially acceptable, comfortable image she’s manifested. Her jealousy of them and villainisation of Brian also reflects her deep seated conflict between the social construction of her marriage and her desire and shows her view of Brian as a barrier to her own desires as he can’t fulfill her emotional needs.