So profound is humans’ concern for their reputations that they can even be nudged toward altruistic behaviors by the mere suggestion of invisible witnesses or the simplest representation of watching eyes. The billboard featuring Dr. Eckleburg’s eyes, however, holds no sway over George’s wife Myrtle, or the man she has an affair with. That this man, Tom Buchanan, has such little concern for his reputation—or that he simply feels entitled to exploit Myrtle—serves as an indictment of the social and economic inequality in the America of Fitzgerald’s day, which carved society into hierarchically arranged echelons and exposed the have-nots to the careless depredations of the haves.
Nick Carraway, the narrator, begins the story by recounting a lesson he learned from his father as part of his Midwestern upbringing. “Whenever you feel like criticizing anyone,” Nick’s father had told him, “just remember that all the people in this world haven’t had the advantages that you’ve had”(5). This piece of wisdom serves at least two purposes: it explains Nick’s self-proclaimed inclination to “reserve all judgments,” highlighting the severity of the wrongdoings which have prompted him to write the story; and it provides an ironic moral lens through which readers view the events of the plot. What is to be made, in light of Nick’s father’s reminder about unevenly parceled out advantages, of the crimes committed by wealthy characters like Tom and Daisy Buchanan?
The focus on morality notwithstanding, religion plays a scant, but surprising, role in The Great Gatsby. It first appears in a conversation between Nick and Catherine, the sister of Myrtle Wilson. Catherine explains to Nick that neither Tom nor Myrtle “can stand the person they’re married to” (37). To the obvious question of why they don’t simply leave their spouses, Catherine responds that it’s Daisy, Tom’s wife, who represents the sole obstacle to the lovers’ happiness. “She’s a Catholic,” Catherine says, “and they don’t believe in divorce” (38). However, Nick explains that “Daisy was not a Catholic,” and he goes on to admit, “I was a little shocked by the elaborateness of the lie.” The conversation takes place at a small gathering hosted by Tom and Myrtle in an apartment rented, it seems, for the sole purpose of giving the two a place to meet. Before Nick leaves the party, he witnesses an argument between the hosts over whether Myrtle has any right to utter Daisy’s name which culminates in Tom striking her and breaking her nose. Obviously, Tom doesn’t despise his wife as much as Myrtle does her husband. And the lie about Daisy’s religious compunctions serves simply to justify Tom’s refusal to leave her and facilitate his continued exploitation of Myrtle.
The only other scene in which a religious belief is asserted explicitly is the one featuring the conversation between George and his neighbor. It comes after Myrtle, whose dalliance had finally aroused her husband’s suspicion, has been struck by a car and killed. George, upon discovering that something had been going on behind his back, locked Myrtle in his garage, and it was when she escaped and ran out into the road to stop the car she thought Tom was driving that she got hit. As the dust from the accident settles—literally, since the garage and the stretch of road are situated in a “valley of ashes” created by the remnants of the coal powering the nearby city being dumped alongside the adjacent rail tracks—George is left alone with a fellow inhabitant of the valley, a man named Michaelis, who asks if he belongs to a church where there might a be a priest he can call to come comfort him. “Don’t belong to one,” George answers (165). He does, however, describe a religious belief of sorts to Michaelis. Having explained why he’d begun to suspect Myrtle was having an affair, George goes on to say, “I told her she might fool me but she couldn’t fool God. I took her to the window.” He walks to the window again as he’s telling the story to his neighbor. “I said, ‘God knows what you’ve been doing, everything you’ve been doing. You may fool me but you can’t fool God!’” (167). Michaelis, who is by now fearing for George’s sanity, notices something disturbing as he stands listening to this rant: “Standing behind him Michaelis saw with a shock that he was looking at the eyes of Doctor T.J. Eckleburg which had just emerged pale and enormous from the dissolving night” (167). When George speaks again, repeating, “God sees everything,” Michaelis feels compelled to assure him, “That’s an advertisement” (167). Though when George first expresses the sentiment, part declaration, part plea, he was clearly thinking of Myrtle’s crime against him, when he repeats it he seems to be thinking of the driver’s crime against Myrtle. God may have seen it, but George takes it upon himself to deliver the punishment.
George Wilson’s turning to God for some moral accounting, despite his general lack of religious devotion, mirrors Nick Carraway’s efforts to settle the question of culpability, despite his own professed reluctance to judge, through the telling of this tragic story. Nick learns from Gatsby that it was in fact Daisy, with whom Gatsby has been carrying on an affair, who was behind the wheel of the car that killed Myrtle. But Gatsby, who was in the passenger seat, assures him it was an accident, not revenge for the affair Myrtle was carrying on with Daisy’s husband. Yet when George finally leaves his garage and turns to Tom to find out who owns the car that killed his wife, assuming it is the same man his wife was cheating on him with, Tom informs him the car belongs to Gatsby, leaving out the crucial fact that Gatsby never met Myrtle. George goes to Gatsby’s mansion, finds him in his pool, shoots and kills him, and then turns the gun on himself. Three people end up dead, Myrtle, George, and Gatsby. Despite their clear complicity, though, Tom and Daisy experience nary a repercussion beyond the natural grief of losing their lovers. Insofar as Nick believes the Buchanans’ perfect getaway is an intolerable injustice, he must realize he holds the power to implicate them, to damage their reputations, by writing and publishing his account of the incidents leading up to the deaths.
Evolutionary critic William Flesch sees our human passion for narrative as a manifestation of our obsession with our own and our fellow humans’ reputations, which evolved at least in part to keep track of each other’s propensities for moral behavior. In Comeuppance: Costly Signaling, Altruistic Punishment, and Other Biological Components of Fiction, Flesch lays out his attempt at solving what he calls “the puzzle of narrative interest,” by which he means the question of why people feel “anxiety on behalf of and about the motives, actions, and experiences of fictional characters” (7). He finds the key to solving this puzzle in a concept called “strong reciprocity,” whereby “the strong reciprocator punishes and rewards others for their behavior toward any member of the social group, and not just or primarily for their individual interactions with the reciprocator” (22). An example of this phenomenon takes place in the novel when the guests at Gatsby’s parties gossip and ardently debate about which of the rumors circling their host are true—particularly of interest is the one saying that “he killed a man” (48). Flesch cites reports from experiments demonstrating that in uneven exchanges, participants with no stake in the outcome are actually willing to incur some cost to themselves in an effort to enforce fairness (31-5). He then goes on to give a compelling account of how this tendency goes a long way toward an explanation of our human fascination with storytelling.
Flesch’s theory of narrative interest begins with models of the evolution of cooperation. For the first groups of human ancestors to evolve cooperative or altruistic traits, they would have had to solve what biologists and game theorists call “the free-rider problem.” Flesch explains:
Darwin himself had proposed a way for altruism to evolve through a mechanism of
group selection. Groups with altruists do better as a group than groups without. But it
was shown in the 1960s that, in fact, such groups would be too easily infiltrated or
invaded by nonaltruists—that is, that group boundaries were too porous—to make
group selection strong enough to overcome competition at the level of the individual
or the gene. (5)
Strong, or indirect reciprocity, coupled with a selfish concern for one’s own reputation, may have evolved as mechanisms to address this threat of exploitative non-cooperators. For instance, in order for Tom Buchanan to behave selfishly by sleeping with George Wilson’s wife, he had to calculate his chances of being discovered in the act and punished. Interestingly, after “exchanging a frown with Doctor Eckleburg” while speaking to Nick in an early scene in Wilson’s garage, Tom suggests his motives for stealing away with Myrtle are at least somewhat noble. “Terrible place,” he says of the garage and the valley of ashes. “It does her good to get away” (30). Nick, clearly uncomfortable with the position Tom has put him in, where he has to choose whether to object to Tom’s behavior or play the role of second-order free-rider himself, poses the obvious question: “Doesn’t her husband object?” To which Tom replies, “He’s so dumb he doesn’t know he’s alive” (30). Nick, inclined to reserve judgment, keeps Tom and Myrtle’s secret. Later in the novel, though, he keeps the same secret for Daisy and Gatsby.
What makes Flesch’s theory so compelling is that it sheds light on the roles played by everyone from the author, in this case Fitzgerald, to the readers, to the characters, whose nonexistence beyond the pages of the novel is little obstacle to their ability to arouse sympathy or ire. Just as humans are keen to ascertain the relative altruism of their neighbors, so too are they given to broadcasting signals of their own altruism. Flesch explains, “we track not only the original actor whose actions we wish to see reciprocated, whether through reward or more likely punishment; we track as well those who are in a position to track that actor, and we track as well those in a position to track those tracking the actor” (50). What this means is that even if the original “actor” is fictional, readers can signal their own altruism by becoming emotionally engaged in the outcome of the story, specifically by wanting to see altruistic characters rewarded and selfish characters punished.
Nick Carraway is tracking Tom Buchanan’s actions, for instance. Reading the novel, we have little doubt what Nick’s attitude toward Tom is, especially as the story progresses. Though we may favor Nick over Tom, Nick’s failure to sufficiently punish Tom when the degree of his selfishness first becomes apparent tempers any positive feelings we may have toward him. As Flesch points out, “altruism could not sustain an evolutionarily stable system without the contribution of altruistic punishers to punish the free-riders who would flourish in a population of purely benevolent altruists” (66). On the other hand, through the very act of telling the story, the narrator may be attempting to rectify his earlier moral complacence. According to Flesch’s model of the dynamics of fiction, “The story tells a story of punishment; the story punishes as story; the storyteller represents him- or herself as an altruistic punisher by telling it” (83). However, many readers of Gatsby probably find Nick’s belated punishment insufficient, and if they fail to see the novel as a comment on the real injustice Fitzgerald saw going on around him they would be both confused and disappointed by the way the story ends.Read part 2