Podcast appearances and mentions of tom buchanan

You might think of The Great Gatsby as a classic New York City novel –  but the events that set off the action of the story actually take place somewhere else. In Louisville, Kentucky. It's where Daisy and Gatsby first meet, and where Daisy marries Gatsby's rival, Tom Buchanan (boo, hiss!) In today's episode, we track down the footsteps of author F. Scott Fitzgerald, who spent two tumultuous months of his life near Louisville while stationed at an Army camp during WWI. And we'll try to find the places that might have inspired his most famous work… Plus: Track down Fitzgerald's footsteps in Louisville and find events related to the 100th birthday of the Great Gatsby.This episode was produced in partnership with Louisville Tourism.

Hello, wrestling fans! It's time for Episode #166 of Shut Up and Wrestle, with Brian R. Solomon! This WrestleMania week, Brian welcomes longtime WWF photographer Tom Buchanan back to the show to remember the first WrestleMania and beyond! Tom talks all about getting started with the WWF in 1985, and his sixteen subsequent years with … Continue reading Episode 166: Tom Buchanan Talks WrestleMania → The post Episode 166: Tom Buchanan Talks WrestleMania appeared first on Shut Up And Wrestle with Brian Solomon.

Well friends, it is finally time to discover why Jacqueline has seventeen thousand copies of this book and why Meghan definitely should have read it before now. Find the green light, don't be a beautiful little fool, and come join Jacqueline and Meghan on West Egg as they talk about their first classic of classics month, The Great Gatsby. Follow LTP on Social Media

Chapter 1:Summary of Book The Great Gatsby"The Great Gatsby" by F. Scott Fitzgerald is a novel set in the summer of 1922 on Long Island and in New York City. The story is narrated by Nick Carraway, a young bond salesman from Minnesota who rents a house in the West Egg district of Long Island, an area populated by the newly rich who lack social connections and sophistication.Nick's neighbor is Jay Gatsby, a mysterious and wealthy man who throws extravagant parties every weekend, hoping to attract specific guests. As Nick becomes more acquainted with Gatsby, he learns that Gatsby was born poor and that his real name is James Gatz. Gatsby had previously been in love with Daisy Buchanan, Nick's cousin, when he was a young military officer. Post-war, Gatsby dedicated himself to gaining wealth and social standing to win Daisy back, believing that he could recreate the past through sheer force of will and wealth.Through his connection to Nick, Gatsby rekindles his romance with Daisy, although she is now married to Tom Buchanan, a man of established wealth and social standing, but also arrogant and unfaithful. The reunion leads to an affair between Gatsby and Daisy, which climaxes in a confrontation between Tom and Gatsby in a suite at the Plaza Hotel.The situation becomes tragic when Daisy, driving Gatsby's car, accidentally strikes and kills Tom's mistress, Myrtle Wilson, on their way back from the city. Gatsby decides to take the blame, believing his wealth can shelter him. However, Myrtle's husband, George Wilson, misled by Tom to believe that Gatsby was both his wife's lover and killer, shoots Gatsby dead in his pool before taking his own life.In the wake of the tragedy, Nick is disillusioned with the East Coast's morally corrupt and superficial society. He arranges a poorly-attended funeral for Gatsby, breaks off his relationship with Jordan Baker, a professional golfer and mutual friend, and moves back to the Midwest. The novel concludes with Nick reflecting on the unattainable nature of the American Dream, and how people are relentlessly drawn into a past that is forever out of reach, much like Gatsby with his indomitable hopes and dreams.Chapter 2:The Theme of Book The Great GatsbyCertainly! "The Great Gatsby," written by F. Scott Fitzgerald, is a novel set in the 1920s that explores themes of decadence, idealism, resistance to change, social upheaval, and excess. Here is a brief overview focusing on key plot points, character development, and thematic ideas: Key Plot Points1. Nick Carraway's Arrival: The narrator, Nick Carraway, moves to West Egg, Long Island, to learn about the bond business. He rents a small house next to the mysterious millionaire Jay Gatsby, who throws extravagant parties.2. Daisy Buchanan's Reintroduction: Nick is Daisy Buchanan's cousin and through visiting her, he is reintroduced to her and her husband Tom. Daisy lives in the more fashionable area of East Egg. Daisy and Tom's marriage is troubled, marked by Tom's affair with Myrtle Wilson.3. Gatsby's Parties: Nick attends one of Gatsby's lavish parties and learns that Gatsby is in love with Daisy. They had a romantic relationship before he went to war and she married Tom. Gatsby's primary motive in amassing his wealth and throwing parties was to win Daisy back.4. Gatsby and Daisy's Reunion: Through Nick, Gatsby re-establishes a relationship with Daisy. They begin an affair after Gatsby invites Daisy to his mansion and shows her his wealth.5. The Confrontation: Tensions climax at the Plaza Hotel where Gatsby demands that Daisy declare she never loved Tom, which she cannot do. Gatsby's...

In this episode, we embark on a captivating exploration of F. Scott Fitzgerald's timeless classic, The Great Gatsby. We analyze the novel's prophetic qualities, its commentary on the cyclical nature of history, and its profound insights into the human psyche. Through the lens of Jungian psychology, we examine the anima and animus archetypes embodied by Fitzgerald and his contemporary, Ernest Hemingway, and how their works reflect the eternal struggle between the intuitive and the assertive. We also discuss how The Great Gatsby serves as a powerful warning about the pitfalls of the American Dream and the dangers of becoming trapped in the past. Join us for this illuminating discussion on one of the most influential novels of the 20th century. #TheGreatGatsby #FScottFitzgerald #LiteraryAnalysis #JungianArchetypes #AnimaAnimus #AmericanDream #Modernism #Literature #History #Psychology #Podcast #iTunes #Spotify #Stitcher #GooglePodcasts #Subscribe   The Expansive Decadent Ego of the Animus and the Introspective Bust and Decline of the Anima as Parts of Empire Cultures wax and wane. Empires that seem like part of the cosmos itself fall like gunshot victims into a pool or lines on a bar chart. It is the rare work that can speak to both the sparkle of spectacle and the timeless inevitable real it distracts us from. The Great Gatsby was an immediate success and then forgotten and then rediscovered. It was forgotten because the Jazz age was a, beautiful maybe, but still nearsighted dalliance. Fitzgerald was lumped in with all of the other out of date out of style gaucheness the book was mistaken as a celebration of. It was rediscovered because critics realized the book was like one of those sweetly scented break up notes that is written so beautifully that the dumped sod misreads it as a love letter and puts it with the other love notes unawares. The Great Gatsby was a warning; and you can only hear the warning after the fall. Perhaps half love letter and half kiss off, some part of Fitzgerald knew that his world was ending. The Jazz age was the parodos, or fun act of the ancient Greek tragedy where characters expound humorously against the chorus on the character faults that will undue them against the grinding unwinding of time. Ancient Greece and Rome look the same in the periphery and quite different in focus. Greeks sought to be ideal through archetype where Romans sought reality through realism. Greece, like F. Scott Fitzgerald, dealt in the realm of the anima - the passive, intuitive, and emotional aspects of the psyche. They were comfortable with beauty through vulnerability and had a poetic culture that celebrated poetic introspection. The Greeks were fascinated with the introspective world of the psyche, and their ability to express complex emotions and ideas through symbolic and mythological language. To them archetypes were like platonic forms, or perfect ideals, removed from time. [caption id="attachment_4983" align="aligncenter" width="225"]Ancient Greek Beauty[/caption] Rome, like Fitzgerald's contemporary Ernest Hemingway, was more closely associated with the qualities of the animus - the masculine, assertive, and imperialistic, aspects of the psyche. Roman culture was characterized by its emphasis on law, order, and external appearances of military might. It gave rise to some of the most impressive feats of engineering, architecture, and political organization in the ancient world. The Romans were known for their practicality, their discipline, and their ability to translate ideas into concrete realities. To Rome the aspirational and ideological only mattered in hindsight. [caption id="attachment_4984" align="aligncenter" width="300"]Ancient Roman Beauty[/caption] To a Greek one noticed the archetype or one failed to. To a Roman on created the archetype.  Humans made things real or we didn't. Romans got credit for ideas in a way that Greeks didn't. To a Greek we were glimpsing the inevitable realms of the possible. Time was cyclical. Ideas were external. You didn't have ideas, they had you. For Romans a man came up with the ideas. This is an interesting dichotomy because both ideas are true but paradoxical ways of studying the psyche. All of the early modernists engaged with this dialectic differently. Fitzgerald leaned Greek animistic, Hemingway leaned into the Roman Animus and other contemporaries like Gertrude Stein tried to bridge the divide. There was no way around as literature progressed. Greece and Rome were also deeply interconnected and mutually influential. Greek art, literature, and philosophy had a profound impact on Roman culture, and many Romans saw themselves as the heirs and stewards of the Greek intellectual tradition. At the same time, Roman law, government, and military power provided a framework for the spread and preservation of Greek ideas throughout the Mediterranean world. We need both the anima and animus to be the whole self, effective at wrestling the present and possible together if we are to effectively act on the impending real. The intuition of the anima can let us see the future through dreams of creativity and visions for the possible but the animus is what lets us bring our agency to bear on the present moment. It is easy to hide in either one but miss the both. I read The Great Gatsby in high school and it  was one of the few assigned readings I didn't hate. I wanted to read Michael Crichton and classical mythology primary sources but the curriculum wanted me to slog through things like Nathaniel Hawthorne and Zora Neal Hurston. I enjoyed the points those authors made, criticizing puritanism, and celebrating African American folk culture respectively but I thought the stylism made reading them a slog. The Great Gatsby was simple and I have reflected on it over the course of my life. In high-school I saw Hemingway and Fitzgerald as two halves of the same coin. Fitzgerald was the nostalgic, reflective anima to Hemingway's masculine animus. Hemingway jumped headlong into the morphine promises of modernism. Fitzgerald seemed to reflect on modernity better because he was pulled begrudgingly into it while trying to look further and further back into the past and its inevitabilities of "progress". Most of my friends were manly Hemingway's comfortable in the logos of the accessible real, and I was a navel-gazing Fitzgerald who only felt comfortable cloaked in the mythos of intuitive spaces In Jungian psychology, the concepts of anima and animus are crucial for understanding the inner world of the creative. The anima represents the feminine aspects within the male psyche, while the animus represents the masculine aspects within the female psyche. A healthy integration of these archetypes is essential for wholeness in the personal life behind the creative works. As a therapist I find those and other Jungian concepts usefully to understand why certain people gravitate naturally to things over the course of their life. Fitzgerald's work and life were dominated by his anima, which manifested in his nostalgic yearning for the past, his romantic idealization of women, and his sensitivity to the nuances of emotion and beauty. While these qualities fueled his artistic genius, they also left him vulnerable to depression, addiction, and a sense of alienation from the modern world. It was this alienation from modernism while writing as a modernist that gave Gatsby a timeless predictive quality Hemingway lacks. Ultimately he was able to predict the future as a creative but unable to adapt to it as a man. Hemingway, on the other hand, embodied the over-identified animus - the archetypal masculine energy that values strength, independence, and action above all else. His writing celebrated the virtues of courage, stoicism, and physical prowess, and he cultivated a public image as a rugged adventurer and man of action. However, this one-sided embrace of the animus left Hemingway emotionally stunted, unable to connect deeply with others or to find peace within himself. Hemingway is all bombastic adventure and when the adventure is over there was little left. One of  their other contemporaries, Gertrude Stein seems to have been able to achieve a kind of dynamic balance between her masculine and feminine qualities. This is not to say that she was free from all psychological conflicts or blind spots, but rather that she was able to channel her energies into her work and her relationships in a way that was largely generative, sustainable and life-affirming. Stein's life and work could be seen as an example of the transformative power of integrating the anima and animus within the psyche. Fitzgerald's own insecurities and traumas contributed significantly to his anima-dominated psyche and artistic worldview. Fitzgerald remained haunted throughout his life. Had he lived long enough to encounter Jung's work, Fitzgerald would have likely been profoundly influenced by it. Jay Gatsby seems to be the Jungian archetype of the "puer aeternus" (eternal boy) frozen by an impossible to attain object of desire and a refusal to grow up. A charming, appealing, affecting but ultimately failed visionary chasing red herrings. Fitzgerald himself seemed to go down the same path as other male Jungian's, most notably, James Hillman and Robert Moore, failing to fully "ride the animus" and integrate their assertive energies to manifest changes in their personal lives. All were beautiful artists but not always beautiful men, especially in their end. There seems to be a common thread in these anima over identified men - a childhood trauma that stifles self-expression, which paradoxically fosters a some what  magical, intuitive, visionary ability to see the future. In adulthood, this ability makes one a profound artist, garnering success and a wide audience. However, the external validation and success do not heal the original, still screaming, wound. This disconnect between outer success and the failure of that success to balm the original inner pain that sparked the need for it is something that many artists and depth psychologists of this personality type struggle to reconcile from. In high-school they told me The Great Gatsby was the greatest novel ever written and expected me to believe them. They also told me that getting straight A's meant you were smart, that the hardest working got the highest paid, and that all they really wanted me to do was think for myself. All were clearly lies a sophistic system thought I was better off if I believed. Obviously I had to find out later, pushing 40, that the book was on to something great. Or, maybe you have to see the rise and fall of celebrity and missiles and trends and less obvious lies in your life before you start to get the book as its own second act. Saying The Great Gatsby is a good book is like talking about how the Beatles were a great band or the Grand Canyon is big. It's kind of done to death, and it's even silly to say out loud to someone. Everyone had to read it in high school. To say it is your favorite book instantly makes others wonder if you have read another book that you didn't have to read freshman year. Oh, Hamlet is your other "favorite" book? Thinks the person who knows you have skimmed two books in your life and the test. How do you get the prescience of an extremely simple story at 16? How was anyone supposed to in 1925? The Great Gatsby is, perhaps by accident, not really about what it is about. The Great Gatsby is a worm's eye view of the universe that reminds us that our humanity itself IS a worm's eye view of the universe and that our worms eye view on it and each other is what keeps us sane. Sane and the gears of the spectacle of culture and grinding along out of psychic neccesity. We are a myopic species stuck in our own stories and others' stories, but not on our own terms. We are caught between improv and archetype but never free of either. Both subject to the human inevitable indelible programmed narrative and object of our own make-believe individual freedom from it. The Great Gatsby is a book that you read in high school because you could hand it to almost anyone. It has done numbers historically and currently as a work in translation. It holds up some kind of truth to students in places like Iran who have no experience with prohibition, with alcohol, with American culture as insiders. Yet they still feel something relevant connecting them to the real. It works because the characters are kind of stupid. It works because the moral of the story is, on its face, (and just like high school) kind of wrong. The Great Gatsby did see the future; it just didn't know what it saw. I write about intuition quite a bit on our blog, and the thing that I think makes art interesting is when the work of art sees past the knowledge of the artist making the work. The Great Gatsby gets a lot of credit for being prophetic in that it saw the Great Depression as the end of the Jazz age, but it did so because Fitzgerald was seeing his own end. Fitzgerald was severely alcoholic during prohibition, delaying his own deadlines for the novel that almost didn't get there with excuses to his publishers. What would he become after the Volstead Act was repealed? What would the country become after the economic bender that the upper class threw for itself in front of masses that were starving? The power of the novel is when it knows that empires rise and fall. It's when it knows that the valley of ashes is watching your yellow car speed by with dull sad eyes. It's power is in knowing the feeling that when you get what you want, you don't really deserve it, or maybe it doesn't deserve you. Maybe it implies that time is something that we use, tick by tock, as a proxy for meaning because we fundamentally "fumble with clocks" like Gatsby and can't understand time. We need our history and our idolatry of the past to make meaning, but when the lens for our meaning-making remains fixed, the world becomes a pedestal to dark gods demanding the worship of the past at the expense of the future. As a man or a nation, we are bound to hit someone if  we look in the rearview mirror to long. The green light on the dock is a symbol that we mistake for the real thing and "take the long walk of the short dock". With this dishonest relationship to time, we all become a Gatsby or a Tom. I am not sure which is worse. We either lack all ambition and live to keep up appearances, or we have so much ambition that we become the lie. The "beautiful shirts" are just a glittering, stupid, trendy identity that we nationally put on every couple of years to forget that we're about to sink into another depression. Skinny ties are out and gunmetal is in! makes us never have to look at  the other side of ourselves or our empire. The past gives us meaning and identity even as it slowly destroys us and robs us of those things. We are forced to use it as a reference point even though we know this relationship between us and it is doomed. We cannot stop the need for the next recession in this society any more than we cannot stop the need for the next drawer of trendy clothes. The American Dream is a kind of nightmare, but it is still a dream because it keeps us sleeping through the nightmare we are in. Realization of lost purpose, regret and nostalgia, superficiality, emotional turmoil, or tone deaf foreshadowing are not things you need to look at when movies and wars are inventing such beautiful coverings for our imperial core and rent seeking economy. Why then do we cry? Wake up the organist, we are getting bored. In The Great Gatsby, like in a Dickens novel, the plot is the archetype, and that necessitates a lot of conveniences. That might seem like a point of criticism, but it is also very human. Perhaps these truths become tropes are not faults of the plot or its contrivances but reasons for humanity, namely humans in America, to introspect. As individuals or as a society, we turn our insecurity into some amazing and impossible outcome, and then we, like Gatsby, do that to compensate for what we refuse to accept, what we refuse to change about who we are or where we come from. Jay Gatsby is myopic, but he is too naive to be a narcissist. He is just sort of a dream of himself he forgot he was dreaming. Nothing in Fitzgerald's prose leans into The Great Gatsby being directly interpreted as a dream, but it is one possible interpretation that the novel is a sort of collective dream. There is a Tom Buchanan in all of us also. Someone who would burn the world down just because we can't have the lie that we want others to believe about us anymore. He is a refusal to accept the reasonable limitations that might have prevented the Great depression.  If we can't have the whole world, we will blow the whole world up! That is another tension (still unresolved) that The Great Gatsby saw coming for humanity. The two forces of the lie and the dream are the things that make the boom and bust cycle of recession and surplus that have sustained America, sustain the lie in the individual and the society. but shhhhhhh..... it's a dream not a lie!? Just like highschool the powers that be think that you are better off if you believe it. Greece and Rome are relevant details to this reflection on a novel because neither one would have really mattered to history without the other half. Greece invented the culture and religious structure and Rome became the megaphone to amplify expansion of that culture. We study them as highschool students but we don't want to see those distinctions even now. The predictive element in Fitzgerald made him live in a timeless present. His assumptions were at worst  Platonic archetypes where all characters expressed  endless inevitable cycles. At worst his characters were,Aristotelian ideal of knowledge; where ideas had characters, so  characters could not have ideas. Hemingway lived in a Roman, timeless present. Awareness of cycles of  historical and social forces were not important. Maybe  you identify with his archetypes and maybe not. He could not see through them. America when it needs to do advertising for a new product, movie or war will always side with Hemingway. I guess The Old Man and The Sea always feels important, to the individual, but it lacks relevance to the pathos and later deimos that society needs to really introspect well. God is still a broken-down billboard, and only the stupid or the insane in America can recognize God for what he is. If God is happy with what he sees, we clearly are to distracted to notice Him. If god is unhappy, then he does not approve of my America, so he must not be really be God. This is the double bind that the eyes of T.J. Eckleburg, long out of business, put us in. Love me, and you must not be infallible; dislike me, and you must be wrong. Fitzgerald ended his novel, but not his life, on the right note. Listen up creatives. And so we beat on, boats against the current. Ceaselessly borne back into the past. How do you end yours? How do you live it. You read it at 16 but how old are you now? The narrator, Nick Carraway, is a perfect observer because he is hopelessly naive, knowing nothing about human life or experience. He learns all of it in the course of a few days from the terrible follies of the gods of his world - the complete pantheon of all the most powerful forces of the '20s, the real, the now. The traditional historic "blue cover" of The Great Gatsby juxtaposes the face of a '20s flapper with the skyline of a city lit for celebration. The flapper's face is studded with the traditional burlesque Cleopatra makeup that already juxtaposes a beauty mark with a teardrop. In the cover, the rising celebration of a firework becomes a teardrop falling. Is up and down forever really the same direction?, the book asks you before you open it. The Wall Street Journal tells you that same thing today in more words. Fitzgerald never found a way to see past himself, even when he wrote those truths in his fiction.  He ended his career in Hollywood, helping better screenwriters by coasting on his reputation from the book that became a meteoric firework. In the end, he became a cautionary tale, a reminder that even the most gifted among us are not immune to the ravages of trauma and addiction masquerading as intuition and artistry and the weight of unfulfilled dreams. What does Nick do with his when the book ends in the Autumn of 22? Did he make it out of the Autumn Summer cycle of New York? Do we? Summary of Key Points for SEO purposes: The Great Gatsby speaks to both the sparkle of spectacle and the timeless inevitable reality it distracts us from. It was initially successful, then forgotten, and later rediscovered as a prescient warning. The essay compares ancient Greek and Roman cultures to the anima and animus in Jungian psychology. It posits that F. Scott Fitzgerald embodied the anima while Ernest Hemingway embodied the animus. A healthy psyche requires integrating both. Fitzgerald's own traumas and insecurities contributed to his anima-dominated psyche. His life and work, especially the character of Jay Gatsby, seem to align with the Jungian archetype of the "puer aeternus" (eternal boy). The essay argues The Great Gatsby is prophetic in foreseeing the end of the Jazz Age and the coming Great Depression, even if Fitzgerald didn't fully comprehend the implications of his own novel. The novel's enduring appeal lies in its simple yet profound truths about the human condition - our need for meaning from the past, the dangers of living in a dream or lie, the inevitable boom and bust cycles of individuals and societies. The essay suggests The Great Gatsby can be interpreted as a collective dream, with Jay Gatsby representing naive ambition and Tom Buchanan representing entitled destruction. Ultimately, Fitzgerald became a cautionary tale, showing that even the most gifted are not immune to unfulfilled dreams and inner demons. The novel asks if we can break free of the cycles of our pasts. The eyes of Dr. T.J. Eckleburg on the billboard are interpreted as a symbol of a broken-down God, whom only the stupid or insane in America can recognize for what he truly is. The essay suggests that if God is happy with what he sees, people are too distracted to notice Him, and if God is unhappy, then He must not approve of America, and therefore cannot really be God. This creates a double bind for the characters and readers, forcing them to either accept a fallible God or reject a disapproving one. The American Dream is portrayed as a nightmare that keeps people asleep, preventing them from confronting the harsh realities of their lives and society. The essay argues that the need for the next economic recession is as inevitable as the need for the next trendy fashion. The essay points out that the plot of The Great Gatsby relies on archetypes and conveniences, which might seem like a flaw but actually reflects the human tendency to seek meaning in familiar patterns and narratives. The eyes of Dr. T.J. Eckleburg on the billboard are interpreted as a symbol of a seemingly absent or indifferent God, who either approves of the characters' actions or is powerless to intervene. This creates a double bind for the characters and readers alike. The essay emphasizes the importance of the novel's narrator, Nick Carraway, as a naive observer who learns about the complexities and tragedies of life through his encounters with the other characters. His journey mirrors the reader's own process of disillusionment and realization.  

www.taletellerclub.comRevisiting the Timeless Elegance of "The Great Gatsby" by F. Scott FitzgeraldIn the annals of American literature, few works stand as iconic and enduring as F. Scott Fitzgerald's masterpiece, "The Great Gatsby." First published in 1925, this novel has transcended time and continues to captivate readers with its timeless themes, vivid characters, and exquisite prose.Set in the prosperous Jazz Age of the 1920s, "The Great Gatsby" transports readers into the glamorous world of Long Island's elite, where wealth, excess, and ambition collide. At the heart of the story is Jay Gatsby, a mysterious and enigmatic millionaire who throws lavish parties in hopes of winning back the love of his life, Daisy Buchanan. Through the eyes of narrator Nick Carraway, we are drawn into Gatsby's glittering but ultimately tragic pursuit of the American Dream.One of the most striking aspects of Fitzgerald's novel is its portrayal of the American Dream and its disillusionment. Gatsby, with his humble beginnings and relentless drive for success, embodies the belief that anyone can rise from obscurity to greatness in America. However, as the story unfolds, we come to realize that Gatsby's wealth and status cannot buy him the happiness and fulfillment he seeks. His obsession with the past and his inability to accept the passage of time ultimately lead to his downfall, serving as a poignant commentary on the emptiness of materialism and the fleeting nature of success.Central to the narrative is the theme of love and longing, particularly Gatsby's unrequited love for Daisy. Their relationship, marked by passion, deception, and tragedy, serves as a powerful symbol of the complexities of human desire and the consequences of holding onto illusions. Fitzgerald's exploration of love and social class resonates just as strongly today as it did nearly a century ago, reminding us of the universal truths that lie at the heart of human experience.Equally compelling are Fitzgerald's characters, each intricately drawn with depth and complexity. From the enigmatic Gatsby to the shallow and disillusioned Daisy, to the morally bankrupt Tom Buchanan, the novel is populated with unforgettable personalities who reflect the contradictions and complexities of the Jazz Age society. Through their interactions and conflicts, Fitzgerald paints a vivid portrait of a world on the brink of change, where old traditions clash with modern aspirations, and the pursuit of happiness often leads to despair.Beyond its thematic depth and rich characterizations, "The Great Gatsby" is celebrated for its exquisite prose and lyrical style. Fitzgerald's writing is imbued with a sense of poetry and rhythm, capturing the beauty and the tragedy of the human condition with remarkable precision. His descriptive passages evoke the opulence and decadence of the era, transporting readers to a time and place that is both enchanting and haunting.In conclusion, "The Great Gatsby" endures as a timeless classic that continues to resonate with readers of all ages. Through its exploration of themes such as the American Dream, love, and the passage of time, Fitzgerald's novel offers profound insights into the human experience that remain as relevant today as they were in the Roaring Twenties. As we revisit this literary masterpiece, we are reminded of the enduring power of great literature to illuminate the depths of the human soul and to transcend the boundaries of time and space.

Tom Buchanan moves his sad life from East Egg to New York City, and all those in his orbit pay the price in chapter two of this archetypal novel of the Jazz Age. The contrast between the glitter and the gutter, and the sadness of the last chance is seen in Myrtal, another person used … Continue reading Chapter 2 of “The Great Gatsby,” by F. Scott Fitzgerald, an Audio Narration →

World-renowned and very clever Professor of Short Books, Douglas Ullard...along with his Twenty-Two Minute and Seventeen Second Classic Literature Audio Armchair Theatre Company (or TTMASSCLAATC) brings you F. Scott Fitzgerald's great classic, but short, literary "masterpiece" in just...well...twenty-two minutes and seventeen seconds.  So, if you're trying to look smart in front of your friends and family, but you just don't have the hours it takes to read a classic novel - even one as short as "The Great Gatsby"…then, don't worry…we've done all the hard work for you. In the first of seven episodes of Abridgd...Too Far's inaugural season, The Great Gatsby is brought to you in glorious clarity that the original novel seems to sometimes lack. So sit back and listen. Cast: Ben Starr as Tom Buchanan and others Caroline Rodgers as Daisy Buchanan and others David Menkin as Nick Carraway and others Julien Ball as Wilson and others Stacha Hicks as Myrtle and others Barbara Barnes as Jordan Baker and others With a special introduction by the Professor himself, Douglas Ullard. Written by David Spicer Directed by John Schwab and David Spicer Audio Production by John Schwab

A Dreamy Soiree in West Egg The Great Gatsby by F. Scott Fitzgerald Escape into the captivating world of F. Scott Fitzgerald's literary masterpiece, 'The Great Gatsby,' in this soothing episode of Sleepy Time Tales. As the moon casts its gentle glow over the opulent mansions of West Egg, join us on a tranquil journey through the pages of this timeless tale. In this episode, we delve into the vibrant and enchanting party at Daisy and Tom Buchanan's mansion, where the champagne flows freely and laughter dances in the air. Picture yourself strolling through the elegant gardens, the sound of jazz music serenading your senses as you encounter a cast of intriguing characters under the starry night. As the story unfolds, we guide you through the fascinating world of the 1920s, painting vivid scenes of extravagance and glamour that surround Jay Gatsby's pursuit of his elusive American Dream. Immerse yourself in the dazzling spectacle of the evening, letting the descriptions of lavish decor and fashionable attire create a comforting atmosphere that lulls you into relaxation. And when the festivities begin to wind down, we transition seamlessly into a dinner party where the tension simmers beneath the surface, revealing the complexities of relationships and secrets hidden behind closed doors. Allow the gentle cadence of the narrator's voice to carry you through the intricate web of emotions, as we accompany you on a journey from one chapter to the next. Whether you're seeking to drift into a peaceful slumber or simply looking to unwind, let Sleepy Time Tales transport you to a realm where the past meets tranquility. Indulge in the dulcet tones of the narration as you're gently lulled into dreams, finding serenity amidst the enchanting world of 'The Great Gatsby.' So, dim the lights, adjust your pillows, and let Sleepy Time Tales be your passport to a restful night's sleep, accompanied by the elegant prose of Fitzgerald's classic novel. Sweet dreams await as we invite you to join us in the realm of slumber through this captivating episode. Story (03:15) Need help with a Podcast? As you know I left my job at the end of July to spend more time with my family. To earn a living, I have started a company to edit and produce podcasts. From basic podcast edits to full handling of all post-production tasks including show notes and publication. I've even found that doing all of the work setting up a podcast for clients is quite popular. It's not hard, just time consuming for busy people with other work to prioritise.  So if you or someone you know needs a podcast edited or any podcast admin done, drop me a line at dave@brightvoxaudio.com or check out my site at https://brightvoxaudio.com/ Episode edits start at $15, lock in introductory pricing now! SleepPhones, our exciting new partnership In our experience the best way to experience the bedtime stories of Sleepy Time Tales is with some type of headphone or earbud, but they can be cumbersome and uncomfortable. So we've partnered SleepPhones, manufacturers of headphones designed specifically to sleep in! They use a thin speaker fitted to a comfortable headband and have options from the cost effective wired headphones to the convenient Bluetooth model and will work with Sleepy Time Tales to improve your night's sleep. Use the below link to shop, and support Sleepy Time Tales https://sleepytimetales.net/sleepphones Sleepy Time Tales Merch and Stuff I've been putting up a lot of new designs on Teepublic Not all of the designs are Sleepy Time Tales branded, actually most aren't, so you can support the podcast without needing to emblazon the logo on yourself.

Tom Buchanan joins me today to talk about his 17 year career with WWE as a photographer. Tom's first night on the Job was Wrestlemania 1 and from then on was a part of the company through some high and low points . We discuss the steroid trial , Ultimate Warrior, Andre The Giant , Sunny , a crazy story from Kuwait and much more . Tom also recalls being on site the night of Owen Harts tragic passing .

Hello, wrestling fans! It's time for Episode #33 of Shut Up and Wrestle, with Brian R. Solomon! This week, my guest is former lead WWE photographer, Tom Buchanan! Tom was with the WWF/E from the first WrestleMania all the way through the heights of the Attitude Era, and he has a unique perspective of life … Continue reading Episode 33: Tom Buchanan → The post Episode 33: Tom Buchanan appeared first on Shut Up And Wrestle with Brian Solomon.

On this episode of our award winning Podcast, we hear the Country Cricket journey of Leschenault CC, BDCA and WA Country XI player - Tom Buchanan. Tom is one of WA Country Crickets real gentlemen that both on the field and off, shows incredible style and plays the game as it should be. His graceful batting and lethal fielding have seen him gain huge kudos and acclaim from peers for many years now and in this episode he shares his thoughts on how this has evolved and continues to drive his game. But more importantly, we hear the story of a beautiful young lady called Ahlia and how her life has shaped Tom and given Tom a direction that everyone needs to hear. We encourage you to tune into this episode and enjoy Toms story, but also head to https://rundipg-org.grassrootz.com/ride-for-ahlia and get an even better understanding of Tom and his passion to make a difference as well as celebrate the life of Ahlia. Hosted on Acast. See acast.com/privacy for more information.

Career Q&A with Joel Edgerton. Moderated by Jenelle Riley, Variety. Joel Edgerton currently stars as John Connolly in BLACK MASS alongside Johnny Depp. He was honored for his performance as Tom Buchanan in “The Great Gatsby,” Baz Luhrmann's 2013 screen adaptation of F. Scott Fitzgerald's classic novel. Edgerton won Australian Film Institute (AFI) and Film Critics Circle of Australia (FCCA) Awards and was nominated for an Australian Film Critics Association Award, all in the category of Best Supporting Actor. Edgerton more recently directed, wrote, produced and starred in the psychological thriller “The Gift,” also starring Jason Bateman and Rebecca Hall. The independent film delivered tremendously, with a 93% Rotten Tomatoes score and an opening weekend of $12 million. He also starred opposite Christian Bale in Ridley Scott's biblical epic “Exodus: Gods and Kings.” Edgerton's upcoming credits include starring roles in Jeff Nichols' sci-fi thriller “Midnight Special,” and Gavin O'Connor's Western “Jane Got a Gun,” with Natalie Portman and Ewan McGregor. He is currently reunited with Nichols on the fact-based drama “Loving,” about the couple whose challenge to Virginia's interracial marriage ban led to a landmark Supreme Court case. In 2012, Edgerton gained international attention with his role in Kathryn Bigelow's award winning true-life drama “Zero Dark Thirty.” That same year, he starred opposite Jennifer Garner in Peter Hedges' “The Odd Life of Timothy Green,” and in “Wish You Were Here,” winning an FCCA Award for Best Actor. His other recent film credits include the drama “Felony,” which he also wrote and produced and which premiered at the 2013 Toronto International Film Festival; Gavin O'Connor's drama “Warrior,” with Tom Hardy and Nick Nolte; the horror thriller “The Thing,” the prequel to John Carpenter's cult classic; and David Michôd's “Animal Kingdom,” for which he won AFI and FCCA Awards for Best Supporting Actor. Edgerton had earlier starred in such films as “The Square,” directed by his brother Nash Edgerton; the Australian feature “Acolytes”; “Whisper,” with Josh Holloway”; the crime thriller “Smokin' Aces”; the drag comedy “Kinky Boots”; and George Lucas's blockbusters “Star Wars: Episode II – Attack of the Clones” and “Episode III – Revenge of the Sith,” playing the young Owen Lars, who would become Uncle Owen to Luke Skywalker. He also lent his voice to Zack Snyder's animated feature “Legend of the Guardians: The Owls of Ga'Hoole” and the Oscar nominated animated short “The Mysterious Geographic Explorations of Jasper Morello,” performing the title role. Born in New South Wales, Australia, Edgerton attended the Nepean Drama School in western Sydney. He went on to appear in various stage productions, most notably with the Sydney Theatre Company in “Blackrock,” “Third World Blues” and “Love for Love”; and the Bell Shakespeare, where he appeared in “Henry IV.” In 2009, he returned to the stage to star as Stanley Kowalski, alongside Cate Blanchett's Blanche DuBois, in the Sydney Theatre Company's acclaimed production of “A Streetcar Named Desire.” The pair also performed the play to sold-out audiences at the Kennedy Center in November of that year, followed by a run at the Brooklyn Academy of Music (BAM) in December. On Australian television, he is known for playing the role of Will in the long-running series “The Secret Life of Us,” for which he was nominated for an AFI Award.

Chatting With Sherri welcomes award winning author; Jillian Cantor! Beautiful Little Fools; On a sultry August day in 1922, Jay Gatsby is shot dead in his West Egg swimming pool. To the police, it appears to be an open-and-shut case of murder/suicide when the body of George Wilson, a local mechanic, is found in the woods nearby. Then a diamond hairpin is discovered in the bushes by the pool, and three women fall under suspicion. Each holds a key that can unlock the truth to the mysterious life and death of this enigmatic millionaire. Daisy Buchanan once thought she might marry Gatsby—before her family was torn apart by an unspeakable tragedy that sent her into the arms of the philandering Tom Buchanan. Jordan Baker, Daisy's best friend, guards a secret that derailed her promising golf career and threatens to ruin her friendship with Daisy as well. Catherine McCoy, a suffragette, fights for women's freedom and independence, and especially for her sister, Myrtle Wilson, who's trapped in a terrible marriage. Jillian Cantor has a BA in English from Penn State University and an MFA from the University of Arizona. She is the author of award-winning and bestselling novels for teens and adults, including The Hours Count, Margot, The Lost Letter, In Another Time, and Half Life. Born and raised in a suburb of Philadelphia, Cantor currently lives in Arizona with her husband and two sons.    

Presidential namesakes, with poems by Rossme Taylor, Tom Buchanan and Leah Johnson.Support the show (https://www.passagerbooks.com/donate/)

Why do people share false information? In this episode, our presenters Ginny Smith and Jon Sutton explore the psychology of misinformation. They hear about the factors that make people more or less likely to share misinformation, discuss strategies to correct false information, and learn how to talk to someone who is promoting conspiracy theories. Our guests, in order of appearance, are Tom Buchanan, Professor of Psychology at the University of Westminster, and Briony Swire-Thompson, senior research scientist at Northeastern University's Network Science Institute. Episode credits: Presented and produced by Ginny Smith, with additional reporting by Jon Sutton. Script edits by Matthew Warren. Mixing and editing by Jeff Knowler. PsychCrunch theme music by Catherine Loveday and Jeff Knowler. Art work by Tim Grimshaw. Relevant research from our guests includes: Why do people spread false information online? The effects of message and viewer characteristics on self-reported likelihood of sharing social media disinformation. Spreading Disinformation on Facebook: Do Trust in Message Source, Risk Propensity, or Personality Affect the Organic Reach of “Fake News”? Predictors of likelihood of sharing disinformation on social media 2019-2020 Correction format has a limited role when debunking misinformation Backfire effects after correcting misinformation are strongly associated with reliability Public Health and Online Misinformation: Challenges and Recommendations

“ Nadie comprendía el perfume de la oscura magnolia de tu vientre. Nadie sabía que martirizabas un colibrí de amor entre los dientes. Mil caballitos persas se dormían en la plaza con luna de tu frente, mientras que yo enlazaba cuatro noches tu cintura, enemiga de la nieve. Entre yeso y jazmines, tu mirada era un pálido ramo de simientes . Yo busqué, para darte, por mi pecho las letras de marfil que dicen siempre. Siempre, siempre: jardín de mi agonía, tu cuerpo fugitivo para siempre, la sangre de tus venas en mi boca, tu boca ya sin luz para mi muerte.” Federico García Lorca. La inspiración de la literatura, la fuente de la que bebe, su única razón de ser, es la propia vida. Y en la vida de cada uno, un momento trascendental es aquel en el que surge el amor. Nuestra existencia, tan llena de injusticias, de dolor, del color gris de la mediocridad y de la cruel herida del sinsentido, se ve iluminada, a veces, por un paréntesis resplandeciente que, súbitamente, le confiere sentido. Este paréntesis, esa tregua, la del amor, constituye, seguramente, el tema más tratado de la literatura, porque condensa todo lo que realmente preocupa al ser humano: lleva en sí el deseo y la felicidad de estar vivos, la angustia del tiempo y el sueño de escapar a la muerte, el anhelo de la libertad y la necesidad de compartir emociones, experiencias y pensamientos, la necesidad de no estar solos y comunicarnos con el otro. En este programa, hablaremos únicamente de novelas y de obras de teatro, y dejaremos a un lado la poesía, pues esta, no se detiene en explicar los procesos amorosos y su evolución, sino que lanza llamaradas que iluminan instantes, momentos… y que podrían dar lugar a uno o mil programas. Pienso que, conociendo todas las novelas y obras de teatro inolvidables, de las que vamos a hablar, quizá la más decisiva consecuencia que podamos sacar es que el sabor de la vida es para los que aman, como muy bien supieron todos esos personajes que jamás morirán. Comenzaremos por obras que tratan sobre el amor ideal. Se trata de obras de diferente condición. “Tristán e Isolda” y “Amadís de Gaula” son historias que pertenecen al mundo cortés y caballeresco, y en ese contexto hay que entender que su amor sea ideal. El amor de Don Quijote por Dulcinea, platónico, pertenece al mundo de las ideas: ni siquiera es segura la existencia de la amada. Cyrano de Bergerac, el drama de Rostand, idealiza a Roxana y sus sentimientos nunca se trasladan a un plano físico. En cuanto a Pigmalión, asistimos a la construcción de una mujer ideal, aunque su autor, George Bernard Shaw rechace el que Higgins se enamore de Eliza. De estos amores ideales pasaremos a las obras que inmortalizan el primer amor. La historia de la literatura está llena de estos primeros amores. Posiblemente el más famoso de la nuestra es el de Calisto y Melibea de “La Celestina”, la obra escrita por Fernando de Rojas a finales del siglo XV, cuya primera versión conocida es de 1.499. Termina trágicamente, como tantas historias de amores: Calisto muere por accidente y su amada Melibea, destrozada, se suicida. “La Celestina” combina el lenguaje culto y el ideal platónico amoroso de los protagonistas con el popular y las bajas pasiones de los criados y las prostitutas. En esta tragedia realista surge uno de los personajes con más fuerza, el más novedoso y original de la literatura española: Celestina, la bruja alcahueta, por lo que no es de extrañar que, con el tiempo, la obra, en principio titulada “Comedia de Calisto y Melibea”, acabara conociéndose con su nombre. Un siglo después, otra obra de teatro, “Romeo y Julieta”, de 1.595, escrita por William Shakespeare, presenta evidentes paralelismos con “La Celestina”. Es también una trágica historia de dos jóvenes amantes, que ponen el amor por encima de Dios. Pero hay una diferencia: en este caso ambos se suicidan por amor; narcotizada Julieta, Romeo cree que está muerta, y se suicida ante su supuesto cadáver. Julieta despierta y, al ver a Romeo muerto, se mata; es la pasión del amor llevada a su máximo extremo: sin el amante, la vida no tiene ningún sentido, y la muerte es lo único que puede volver a reunirlos. También una historia de un primer amor entre adolescentes es “El diablo en el cuerpo”, que Raimond Radiguet, en un ejemplo inusual de precocidad, publicó a los veinte años, con gran escándalo por considerarse inmoral su argumento: aún reciente la I Guerra Mundial, es la historia de un amor adúltero, entre un cínico muchacho de dieciséis años para quién el conflicto bélico supone simplemente unas largas vacaciones, y una muchacha de diecinueve (la mayor edad de ella es también fuera de lo convencional), cuyo marido, Jacques, está en el frente. Radiguet apenas pudo disfrutar de su éxito: publicada en marzo de 1.923, moriría de tifus en diciembre del mismo año. Según parece, aunque su autor siempre lo negara, la historia es en gran medida autobiográfica. Una de las obras más hermosas, en mi opinión, es “El sueño de los Héroes”, escrita por el argentino Adolfo Bioy Casares en 1.954. Es la historia de un primer amor entre los jóvenes Emilio Gauna y Clara y está llena de matices y sensibilidad, aunque susceptible de una lectura realista, pero también de una interpretación mágica y una reflexión sobre el destino, el azar y la tragedia. Todos estos primeros amores han encontrado un final trágico. Suele ser el desenlace de las historias sobre el amor en general donde la muerte también será protagonista. Pasemos ahora al amor romántico. “Las desventuras del joven Werther” de 1.774, novela epistolar de Goethe, es uno de los puntos de arranque del romanticismo alemán. “Cumbres borrascosas” de 1.847 y la única novela de Emily Brontë, es la recreación, cruel y romántica a la vez, de unas pasiones desaforadas. En este caso, las oscuras fuerzas de la naturaleza humana, más que la presión social, desencadenan el drama. La francesa “La dama de las camelias” de 1.848, está a caballo entre el romanticismo, con el sacrificio de Margarita, el deseo de redimirla de Armand, la exhumación de sus restos, y el realismo, que pretendía describir objetivamente la realidad, según la conocida fórmula de Stendhal: un espejo que se pasa a lo largo de un camino. No deja de ser revelador el que gran número de obras literarias, y entre ellas las novelas románticas, por hablar con libertad del alma humana y de sus pasiones, escandalizaran a los bienpensantes. El choque entre la sociedad y el individuo determina a menudo el desenlace trágico de las historias de amor. Con “Werther” nos reencontramos con el tema del suicidio, en este caso no por la muerte del ser amado, sino por la imposibilidad de lograr su amor; y no porque Carlota no sienta nada por él, sino por la fuerza de las convenciones. Werther es un espíritu vehemente, con la sensibilidad a flor de piel. Se emociona, se exalta, llora, pasa de la más desbordante felicidad al más negro pesar. En su época la novela tuvo una enorme resonancia e influencia. “Cumbres borrascosas”, una novela valiente, única en la tradición inglesa, es la historia de un amor turbulento, malsano, devastador, que tiene su expresión geográfica en el paisaje: los desolados páramos de Yorkshire y en el cementerio de la colina. La desmesura, la amoralidad, la fuerza del enloquecido amor de Heathcliff y Catherine, lo sugestivo de las metáforas, hacen de “Cumbres borrascosas” una novela que todavía hoy se lee con pasión, y que diríase inspirada en la frase del marqués de Sade: . Alejandro Dumas, hijo (1.824 – 1.895), hijo natural de una costurera y Alejandro Dumas, padre (hablamos de él en un programa y de su factoría literaria de donde salieron, entre otras novelas, “Los tres mosqueteros” y “El conde de Montecristo), conoció el éxito con “La dama de las camelias”, escrita a los 23 años e inspirada en una tormentosa relación vivida por el autor con Marie Duplessis, una entretenida que siempre llevaba una camelia en el corpiño. Fue, en palabras de Dumas . “La Traviata”, la opera de Verdi inspirada en la versión teatral que hizo el propio autor, y que alcanzó aún mayor éxito, contribuyó a su celebridad. Margarita Gautier es una cortesana de la alta sociedad de vida ardiente pero expresión virginal. Armand Duval considera un triunfo el que ella se enamore, mucho más meritorio que ser amado por una joven casta y pura, algo muy facil para él. Y se imagina que él la curará de su enfermedad moral (la prostitución) y de la física (la tuberculosis). Pero Armand la abandonará finalmente, después de las dudas, los celos, las separaciones y reconciliaciones, las humillaciones, las infidelidades y los problemas de dinero, y Margarita morirá sola y desgraciada, símbolo de la mujer que ha amado de verdad y que se ha sacrificado por el supuesto bien de su amante. El amor romántico ha sido superado por la hipocresía y el interés mercantil. Arrepentido, Duval se ocupará de que siempre haya camelias blancas en la tumba de su amada. En la ópera y en el cine (uno de los papeles más famosos de Greta Garbo), como en la obra teatral, Armand acudirá a verla moribunda en el lecho. El amor y la muerte se darán así un abrazo, y Margarita Gautier se despedirá del mundo con ese consuelo sublime. En la novela, más dura, no se produce este último encuentro. El amor y la muerte se confrontan al principio, de una manera macabra: Duval presencia la exhumación de su amada: sus ojos son agujeros, los labios han desaparecido. Werther, Heathcliff, Margarita Gautier son enamorados que en realidad, como en la gran mayoría de los romances, les ocurre que el que haya un obstáculo casi insalvable los hace más grandes. Ya hemos visto que, casi siempre, el amor ha de enfrentarse a las convenciones sociales, incluyendo en estas algo tan aceptado como la monogamia. El adulterio será protagonista ahora con novelas tan justamente aplaudidas como “Madame Bovary”, de Gustave Flaubert, publicada en 1.857 o “Anna Karénina” (León Tolstoi, 1.875). Sexo y dinero, como en “La dama de las camelias”, son fundamentales para el desarrollo de la historia de “Madame Bovary”. Emma, casada con el aburrido Charles, no se resigna a una vida gris; ella no quiera sofocar sus sentidos, sino disfrutarlos, y para ello no duda en enfrentarse a la moral imperante, enemiga del goce sensual. Es una rebelión egoísta, en realidad busca su propio placer, no luchar contra una injusticia individual o la opresión de una clase. Pero sus mezquinos amantes, León y Rodolphe, no se enamoran de ella, se cansan, se aprovechan. Endeudada, humillada, derrotada, sin ánimos ya para vivir junto a su indulgente y enamorado marido, Emma se envenena, y Charles se dejará morir lentamente. Esta obra es considerada por muchos como el arranque de la novela contemporánea y rompe con el romanticismo mediante un estilo literario que buscaba la objetividad y el realismo. En “Anna Karénina” nos encontramos con dos historias: la de Anna, que renunciará a todo por el oficial Vronski, incluso a su amado hijo, y la de Kiti y el terrateniente Lievin, quién encontrará la salvación interior gracias a las sencillas palabras de un campesino. De las dos historias, la que hace inmortal la novela de Tolstoi es, no hace falta decirlo, la primera. Anna Karénina es una mujer inteligente, libre y enérgica, que, al contrario de Emma Bovary, no se imagina la pasión según las novelas leídas, sino que, sin buscarla, es más, luchando contra ella, se la encuentra, se enamora, y afronta las consecuencias de su pasión adúltera: abandona a su marido, Karenin, hombre frio, ambicioso y falso, renuncia a todo, y se va a vivir con el conde Vronski, en un gesto valiente y honesto, actitud bien diferente de las otras damas de su entorno, que tienen aventuras y las ocultan. Pero, devorada por unos celos injustificados y por su propia pasión, que desborda la capacidad de amar de Vronski, vencida por las presiones de una sociedad demasiado rígida e intolerante, enloquecida, se suicida. Y, para que el círculo se cierre, lo hace arrojándose a las vías del tren en la estación donde vio por primera vez a su amado. Por supuesto, no sólo el amor extraconyugal se enfrenta a las convenciones sociales. Hay también historias de amor que exploran terrenos que fueron - o siguen siendo – tabúes como el de la homosexualidad, el incesto, el alcoholismo, el sadismo o la atracción por las nínfulas. “La muerte en Venecia” de Thomas Mann (1.914), cuenta la fascinación de un escritor llamado Aschenbach, por un bello adolescente polaco, Tasio. Venecia, símbolo de la decadencia física y creativa de Aschenbach, es el escenario de ese amor homosexual y platónico. De 1.957 es “Homo faber”, en la que Max Frisch, con gran maestría, escribe la tragedia con resonancias clásicas del amor entre un hombre maduro y una joven, ignorantes ambos de que son padre e hija. Sobre el tema del incesto tampoco podemos olvidar la impresionante “Sobre héroes y tumbas” de Ernesto Sábato. En el “Reposo del guerrero” de 1.958, Christiane Rochefort profundizó con lucidez en la desgraciada relación entre una joven y un escritor alcohólico. Todos conocemos las narraciones del marqués de Sade, los más célebres relatos sobre aberraciones sexuales, y del que procede el termino “sadismo”. Vladimir Nabokov escribió, en 1.955, “Lolita”, la historia de la fatal pasión de Humboldt, un maduro profesor por una adolescente de doce años. Groucho Marx, comentó al respecto: >. Libertinos, descreídos, se toman el amor como un juego, como una cacería, las conquistas como un reto para su vanidad: cobrada una pieza, ya piensan en la siguiente; desconocen que pueden ser víctimas de su propia trampa, que la apuesta por la que emprenden la conquista puede volverse en su contra. En “Las amistades peligrosas” novela epistolar de Choderlos de Laclos, Valmont y la marquesa de Merteuil, dos aristócratas que en un tiempo fueron amantes, viven exclusivamente para el placer y el engaño. Sus conquistas son pasatiempos de los que pronto se aburren y tienen a gala no enamorarse jamás. Cuando la marquesa apuesta con Valmont a que no podrá conquistar a la casta Madame de Tourvel, todos los los personajes comenzarán a enredarse en la telaraña de la tragedia. Valmont y Merteuil creen que el mundo es racional y se puede controlar mediante leyes, aunque estas sean suyas. Pero, al final, la arquitectura de mentiras se desmorona por que surge el amor, el gran intruso que se lleva todo por delante. Don Juan Tenorio es, probablemente junto con La Celestina y Don Quijote, la muestra capital de la creación literaria española que, como todos los grandes mitos, está sujeto a mil interpretaciones diferentes. Don Juan es un verdugo, sí, pero lo que le hace grande es que también es, a la vez, una víctima: es verdugo de las mujeres y víctima de sí mismo. Y su nombre – como el de la Celestina y Don Quijote – se ha incorporado al lenguaje coloquial como sinónimo de galán y conquistador, más allá de nuestras fronteras. Si Vronski tardó un año en seducir a Anna Karénina, Alvaro Mesía, , como le llama Clarín, tardará tres en conquistar a Ana Ozores. Comparable sólo a las más grandes novelas naturalistas de siglo XIX rusas o francesas, “La Regenta” es magnífica tanto por la descripción de una ciudad y un ambiente, como por el estudio de unos personajes y por el desarrollo de la acción. La Regenta se debate entre el donjuán provinciano Alvaro Mesía, su anciano marido, Víctor Quintanar, y su confesor, el Magistral de obispado, Fermín de Pas; o, dicho de otra manera, entre el amor, el deber matrimonial y la religión. El escenario es Vetusta, nombre que le da el autor a Oviedo, una ciudad provinciana, sofocada por la presión de la Iglesia y la hipocresía de las fuerzas conservadoras, guardianas de las buenas costumbres. Ana Ozores, La Regenta, modelo de belleza y comportamiento, es elegida como campo de batalla por los diferentes bandos, y toda Vetusta asiste al espectáculo, dispuesta a sacrificar a su más digna hija en cuanto cometa algún desliz. Don Alvaro deseará conquistarla por una banal apuesta y por premiar su vanidad desmesurada. Fermín de Pas, como prueba de su ambición y poder, querrá ganarla para la religión, aunque la ambivalencia de sus sentimientos (él también es de carne y se enamora atormentadamente) horrorizará a Ana, y la echará en brazos de Don Alvaro. Uno y otro le ofrecen una manera de evadirse de su vida tediosa, monótona, de un matrimonio en el que el marido no puede satisfacerla. Ambas vías, la religiosa y la sensual, se le cerrarán. El Magistral mostrará toda su mezquindad, al igual que don Alvaro, que huirá de la ciudad tras matar en duelo a Víctor Quintanar. Este tampoco es inocente, se ha casado con Ana por prestigio: ella es para él un florero más que una mujer. A Ana Ozores no le queda ni siquiera el consuelo de haber amado aun hombre de lo mereciera. En cuanto a obras cuyo argumento está relacionado con el amor no correspondido, podemos citar “El gran Gatsby” de Scott Fitzgerald, publicada en 1.925. En ella Jay Gatsby, romántico personaje, un triunfador solitario y sentimental, desea obtener el amor de Daisy, esposa de Tom Buchanan. No lo consigue, pero la historia es hermosa y en la novela evoca un mundo perdido con una poderosa melancolía, con una tristeza irreversible y delicada, que pocos autores han logrado transmitir con tanta hondura. Otelo, el moro de Venecia, protagonista del drama en verso y prosa de Shakespeare, se ha convertido en el símbolo del enamorado cegado por los celos. Otelo ama a Desdémona, pero esta historia de un gran amor, sucumbirá al poder de la mentira, la cizaña y la calumnia. En esta obra inmortal, la muerte se convierte, de nuevo, en protagonista. Otelo mata a su amada, y cuando, demasiado tarde, comprenda que sus celos y su ofuscación son fruto de malignas insidias, se suicida. . Así comienza “El túnel” del argentino Ernesto Sábato, publicada en 1.948, novela que desde sus primeras líneas evidencia un hondo pesimismo existencial. Juan Pablo Castel es un famoso pintor extraordinariamente tímido, de treinta y ocho años, que jamás ha tenido relación con una mujer, se enamora de una muchacha de unos veintiséis; se obsesiona con ella al verla mirando un detalle de un cuadro suyo en una exposición, una ventanita en la una solitaria mujer mira al mar, esperando algo. El que esa mujer – María Iribarne – preste atención al detalle en el que nadie más repara, convence a Castel de que es la única persona en el mundo que podría entenderle. Castel conseguirá conocerla. Surge el amor, pero un amor atormentado y extraño, que lleva al protagonista a la locura, a un túnel del que es incapaz de salir. Al matar a su amada, Castel se ha condenado a la soledad más absoluta. Desdémona y, en menor medida, María Iribarne son mujeres inocentes. Ellas no han hecho que cambien de vida Otelo ni Castel. No les han convertido en prófugos, bandoleros o asesinos… hasta que ellas mismas se convierten en sus víctimas. También Cora, protagonista de “El cartero siempre llama dos veces” escrita por James M. Cain en 1.934, y sobre todo Carmen, de la obra homónima (Merimée, 1.845), pueden considerarse víctimas de los hombres, pero sin olvidar que, a su vez, representan para ellos el peligro de la libertad, la rebeldía y la transgresión, eso si, de lo femenino. Diferentes entre sí, ellas y sus historias – porque, al contrario que Desdémona o que María Iribarne, si que son verdaderas protagonistas, y no meros receptáculos de las obsesiones o paranoias masculinas – resumen y ejemplifican un cierto tipo de amor: el amor fatal. Aunque en la literatura, el amor, como hemos visto, casi siempre lo es.

Na primavera de 1922, Nick Carraway chega a Nova York e vira vizinho do misterioso e festeiro milionário Jay Gatsby quando vai viver do outro lado da baía com sua prima Daisy e seu marido mulherengo Tom Buchanan. Assim, Nick é atraído para o mundo cativante dos ricos, suas ilusões, amores e fraudes. Ao testemunhar fatos dentro e fora do mundo em que habita, Nick escreve um conto de amor impossível, sonhos e tragédias que espelham conflitos em tempos modernos.

Welcome to the second chapter of The Great Gatsby, where we look at another adventure with Nick Carraway. This time Tom Buchanan takes Nick away to a rather lavish impromptu party in New York City, where we surprisingly meet Tom's mistress. Listen to find out who she is and whether or not this gathering ends well. You can now follow me on Instagram! @Therealclassictales Songs used in this episode Intro DLJ, BIDO - Explorers Provided by Lofi Girl Watch: https://www.youtube.com/watch?v=TJLmyD6Feuo&ab_channel=DLJ-Topic Listen: https://open.spotify.com/track/5kJUOsF1xGIgjOe1PUeXHZ?si=dfa46173ab644363 Outro Chiccote's Beats - Away Provided by Lofi Girl Watch: https://www.youtube.com/watch?v=z2axASJ6vUM&ab_channel=GSounds Listen: https://open.spotify.com/track/2pQks71qpTxbXojT4VIFta?si=0a6fab138fd24962 --- Support this podcast: https://podcasters.spotify.com/pod/show/theclassictales/support

Welcome to the first episode of Classic Tales! I am so excited (and a bit nervous) to share Chapter 1 of The Great Gatsby. This chapter took place in 1922, and right after graduating from Yale University, Nick Carraway introduces himself as an aspiring bondman. The latter has just moved to New York's Long Island from Minnesota. Nick speaks of the story's hero, Gatsby, representing everything he scorns about New York but holds a gorgeous personality. All the while, Nick spends his first night with his cousin, Daisy, and her husband, Tom Buchanan, in their Georgian colonial mansion. Listen on to find out more about this Gatsby fellow and whether Nick succeeds as a bondman. Social Media handles are coming soon! --- Support this podcast: https://podcasters.spotify.com/pod/show/theclassictales/support

Visit our website BeautifulIllusions.org for a complete set of show notes and links to almost everything discussed in this episodeSelected References:2:00 - Listen to Beautiful Illusions Episode 12 - “A New Enlightenment: The Age of Cognitivism” from March 20212:09 - See Seven and a Half Lessons About the Brain by Lisa Feldman Barrett and Mistakes Were Made (But Not by Me): Why We Justify Foolish Beliefs, Bad Decisions, and Hurtful Acts by Carol Tavris and Elliot Aaronson2:30 - See the “Literary Theory and Schools of Criticism” subsection of the Purdue Online Writing Lab website3:28 - F. Scott Fitzgerald, author of The Great Gatsby3:48 - See the entry on “allostasis” from the extended endnotes of How Emotions Are Made by Lisa Feldman Barrett and/or the “Allostasis” Wikipedia entry3:50 - See “Confirmation bias”, and the “Cognitive bias cheat sheet” and “What Can We Do About Our Bias?” by Buster Benson writing for Better Humans14:39 - Frankenstein by Mary Shelley, which Jeff and I discussed at length in Beautiful Illusions Episode 05 - “It's Alive!” from October 202014:41 - Jacques Lacan was an influential French psychoanalyst15:16 - Watch Carol Tavris and Elliot Aaronson describe “The Pyramid of Choice” and how it leads to justification of actions and leads to further action and self justification22:50 - See “How Robert Zimmerman Became Bob Dylan” - Born in Minnesota as Robert Allen Zimmerman in 1941, he settled officially on the name Bob Dylan in 1961, having already gone by Elston Gunn, and Robert Allen. In a 2004 interview Dylan said "You call yourself what you want to call yourself. This is the land of the free." and perhaps most tellingly, in the 2019 Martin Scorscese documentary “Rolling Thunder Revue: A Bob Dylan Story” he says “Life isn't about finding yourself—or about finding anything, Life is about creating yourself.”23:20 - Released in 2007, I'm Not There explores different aspects of Dylan's life and career through 6 vignettes where the “Dylan” character is played by different actors26:40 - The quote “We are what we pretend to be, so we must be careful about what we pretend to be.” comes from Kurt Vonnegut's 1961 novel Mother Night40:05 - For more on System 1 and System 2 thinking see “Of 2 Minds: How Fast and Slow Thinking Shape Perception and Choice” from Scientifc American, excerpted from Thinking Fast and Slow by Daniel Kahneman41:14 - Stumbling on Happiness by Daniel Gilbert, listen to episode 40 of the It's Not What It Seems podcast where Darron discusses Stumbling on Happiness by Daniel Gilbert with his brother Doug44:05 - See the entry on “Tuning and pruning” from the extended endnotes of Seven and a Half Lessons About the Brain by Lisa Feldman Barrett53:06 - The Secret of Our Success by Joseph Henrich53:39 - See “Secret Fears of the Super-Rich” (The Atlantic, 2011)55:25 - According to American Heritage “Stoddard's The Rising Tide of Color is apparently the book that Tom Buchanan of The Great Gatsby has in mind when he praises “‘The Rise of the Coloured Empires' by this man Goddard.” Although he had the title and author wrong, he wasn't all that far off. Henry Goddard was, in fact, the author of the famous eugenical study of The Kallikak Family.57:10 - See “Ten Years Later: Timeline of Tiger's Scandal” (Golf Channel, 2019)1:06:55 - For more on the predictive nature of the brain see the entry on “allostasis” from the extended endnotes of How Emotions Are Made by Lisa Feldman Barrett and/or the “Allostasis” Wikipedia entry1:08:29 - The quote “‘Who controls the past,' ran the Party slogan, ‘controls the future: who controls the present controls the past.'” comes from George Orwell's 1949 classic Nineteen Eighty-Four: A Novel1:11:20 - Slaughterhouse Five  by Kurt VonnegutThis episode was recorded remotely via Zoom in May 2021The “Beautiful Illusions Theme” was performed by Darron Vigliotti (guitar) and Joseph Vigliotti (drums), and was written and recorded by Darron Vigliotti

Welcome to the Tom Buchanan roast fest. Today, we ended up covering only the first chapter of the Great Gatsby, but it's worth it because we get some good digs at Tom's expense. It's going to be a fun one, I promise. If you want to follow me on my socials, head on over to https://barelybookish.com/connect 

Views of becoming a soldier, living through war and remembering with pieces by James P. Hanley, Tom Buchanan and Pantea Amin Tofangchi.Support the show (https://www.passagerbooks.com/donate/)

The Great Gatsby - F. Scott Fitzgerald - Episode 3 - Find Out Why Chapter 5 Is Fitzgerald's Favorite Chapter! Hi, I’m Christy Shriver, and we’re here to discuss books that have changed the world and have changed us.    And I’m Garry Shriver and this is the How to love lit podcast.  This is our third episode featuring what some people consider to be THE Great American Novel, and after two weeks of symbolism and irony and politics and layers and layers of imagery and meaning, I am starting to see why people are so fascinated with this book.  It’s so dense.  There are so many ways to read it, and I guess that’s what’s kind of fun about it.  I liked reading it for the story, and I loved the movie with Leonardo DiCaprio, although I know there are so many hard core Robert Redford fans out there that have taken me to task for that.  But, as I’ve read it this time, I’ve really enjoyed reading it for the political commentary.  I loved the discussion of the values of Thomas Jefferson and all the distortions or really perversions of the American Dream.    An idea that we mentioned and will come back to- although like I said, I don’t really like the term- American Dream because it seems to me to imply the notion of possibility or  self- improvement on the basis hard work, personal sacrifice and merit as uniquely American, which is most definitely is NOT.      Well, I won’t disagree with that.  Of course, that’s the dream of all the world.  We can look at the life of Paulo Neruda and his hope for Chile for an example we’ve featured on the podcast as well as Julia de Borges although very differently expressed.  But from a political standpoint,  what Fitzgerald criticizes is less the idea itself, as I told you, he’s a Thomas Jefferson fan as well, but, he challenges this myth that there is a place on earth that is free from the corruption innate in the human heart- that the United States of America is such a place. Regardless of the system of checks and balances inherent in any system, it is an illusion to believe that those who make it to the top of the social, economic and political worlds escape the damaging mercenary temptations inherent in those positions- whether they are born there or whether they build their wealth themselves- and, as I see it, as we read through this book- we see very clearly the lines blurring between right and wrong- legitimate and illegitimate- reality versus illusion and ultimately even good vs evil, if you want to see it in those terms.    And he does it so artfully.  He uses colors, and cars and geography and symbols of all sorts and throws all of these into a glamorous setting of his day.  The original readers saw this book as being modeled after their own modern moment.  This story, if it were set today, would include characters modeled after Kanye West, Tom Brady, Beyonce, and Bill DiBlasio, the music would likely be rap music- the technology would likely include tik tok, iphones, and Zoom.  In fact, if you really want to make a good comparison, F. Scott Fitzgerald was sort of the Shonda Rhimes of his day.      If you don’t know who that is, Shonda Rhimes, may be the most accomplished television producer and author of our day.  She is the head writer, creator and executive producer of shows everyone knows: Grey’s Anatomy, Private Practice, How to Get away with Murder and Scandal.  She wrote Crossroads the debut film of Britney Spears , her most recent being Bridgerton.    And Fitzgerald was like that.  Between 1919 and 1934 he made $400,000 mostly from short stories- think of that like tv episodes.  His work was fun, popular and glamorous, like Shonda Rhimes, so when the Great Gatsby came out- it wasn’t taken as the serious work of literature he meant it to me- and if you don’t get the meaning, the story in many ways falls flat.  One newspaper called it, ““Fitzgerald’s latest a dud” Ruth Hale of the Brooklyn Daily Eagle said, “Find me one chemical trace of magic, life, irony romance or mysticism in all of The Great Gatsby, and I will bind myself to read one Scott Fitzgerald book a week for the rest of my life.”    Ouch, that sounds like one of those Edgar Allen Poe Reviews.      Well, it does, and the money speaks for itself.  He only made $7000 from the two printings of the book combined.  He himself knew it was a masterpiece and believed that all the way til his death.  He set out to write, using his own words, ‘something new, something extraordinary and beautiful and simple and intricately patterned.”  And he absolutely did every bit of that.  In fact that was one of the things the critics didn’t like about it- it was too geometric to be a great novel- in their estimation.    What does that mean?  How can you be geometric?    Well, things in this book are just too tight- there is even one theory that he modeled the entire thing after a vaudeville show (which normally has 9 acts- and he has 9 chapters)- but in each act there’s a theme modeled after what the corresponding Act would be if it were a vaudeville show.      Do you think there is any validity to that? For those of you who are unfamiliar with that term- during the early part of the 20th century, America had these variety shows called Vaudveille that were really popular.  They basically were little circus like shows- with crazy characters and lots of music.  In a way, I can see it.  We’ve seen crazy characters for sure as well as lots of music.    I really don’t know.  Vaudeville was extremely popular at the time, and if you read the literature they make that case, but honestly, I have no idea, but it woldn’t surprise me.  Everything in this book is just so deliberate.  If you follow the vaudeville pattern- this week we’re going to look at chapters 4-5 which in Vaudeville world should include the act with absurd characters and chapter 4 does fit that bill.  Act 5’s by the way are characterizized by near misses and that works too, as we’ll see. But another remarkable thing about the structure of this book is that the moment when Gatsby and Daisy meet is exactly the smack dab middle of the book.      Are we ready to jump into the weeds of chapters 4-5?    Absolutely, the beginning of chapter  really introduces a long cast of characters, in fact the first two pages are nothing but names.  The most interesting to the story is Klipspringer who stayed at Gatsby’s so long he was nicknamed “the boarder”.  But the really interesting characters are not the guests or even the gangsters although meeting anyone who’s jewelry is made from human molars would generally draw my attention- but in this case, the mafioso is displaced by the deputant.    No doubt, and I know we don’t have time to get into the real colorful men of history who inspired these hilarious descriptions but if anyone is interested, look into the life of Herbert Bayard Swope who’s parties inspired Gatsby’s parties and the bootlegger Max Gerlach who is the model for Gatsby and George Remus who Fitzgerald actually met in Louisville- any Google search is just  fun  if you enjoy those kinds of things.      And Louisville is where we’re landing today- and it is in chapter 4 that we go back in time to meet  Daisy Fay of Louisville, Kentucky- a place where you’ve actually visited many times because it was also the location the College Board selected for many years for AP readers to congregate and grade the hundreds of thousands of essays from around the world every year.    So true, Louisville, Kentucky the fictional hometown of Daisy Fay, is a Southern City, today famous for the Churchill Downs, Kentucky Derby, and Kentucky bourbon.  Louisville is charming, historical and mythological and right in the middle is the Seelbach hotel-  The hotel Tom Buchanan descended upon from Chicago with an entourage 400 people on the weekend of his wedding.    Fitzgerald, and this is where you’re going to see a LOT of overlap between fiction and non-fiction, like Gatsby, was a soldier during WW1 and stationed, albeit only for a month near Louisville.  On the weekends, he, like a lot of soldiers, would escape Camp Zachary Taylor in his impeccable uniform he had tailor made from Brooks Brothers, enter into the Seelbach hotel as the handsomest man in the room and seek to charm and seduce.  Zelda, his wife, is not from Louisville, she’s from Alabama, another city, so you can see how he plays around with his past.  But she, like Daisy, refuses to marry him because “rich girls don’t marry poor boys.”  To quote Tom Buchanan.  Fitzgerald was stationed near Louisville in 1918, prohibition didn’t start until 1920 so he made good use of the opulent Seelbach bar so much so that he was thrown out of the Seelbach bar at least three times in the four weeks he was there.    Good Lord- well – Fitzgerald in his sober state, sets Jordan Baker’s retelling of Daisy’s past in October of 1917.  I want to point out a couple of things here which I find very interesting and things to think about.  So far, we’ve talked about Fitzgerald’s criticism of corruption and the American dream, we’ve talked about colors and irony, and dust and existential atheism- and all that is in this book- but now I want to change directions and talk about time and personal history, nostalgia and all those things that are beyond politics.  There is a lot of emotional content in this story, this bittersweet feeling of lost opportunity that everyone experiences as they get older in some way or another.  This is set up in the first four chapters with a lot that is happy and exciting- happy nostalgia so to speak- it really peaks in the famous fifth chapter, which was Fitzgerald’s personal favorite and the one he rewrote the most- and kind of turns to negative feelings for the rest of the book- I heard it described as a nostalgia hangover one time and that’s a funny but appropriate metaphor.  It also becomes extremely evident, if it hasn’t been before, that there is no attempt to be chronological – this chapter is very cinematic as it creates these montages of the past and present- New York and then Louisville.    I also want to point out that Fitzgerald, very progressively, changes narrarators and when we hear Daisy’s story, it’s not from the perspective of Nick- a female, Jordan, tells what some would call the female version of the Gatsby story.  Garry read how Jordan first meets Gatsby,     The largest of the banners and the largest of the lawns belonged to Daisy Fay’s house.  She was just 18, two years older than me, and by far the most popular of all the young girls in Louisville.  She dressed in white, and had a little white roadster, and all day long the telephone rang in her house and excited young officers from Camp Taylor demanded the privilege of monopolizing her that night.  “Anyways, for an hour!”  When I came opposite her house that morning her white roadster was beside the curb, and she was sitting in it with a lieutenant I had never seen before.  They were so engrossed in each other that she didn’t see me until I was five feet away.  “Hello, Jordan,” she called unexpectedly. “Please come here.”  I was flattered that she wanted to speak to me, because of all the other girls I admired her most.  She asked me if I was going to the Red Cross and make bandages.  I was.  Well, then, would I tell them that she couldn’t come that day?  The officer looked at Daisy while she was speaking, in a way that every young girl wants to be looked at  some time, and because it seemed romantic to me I remembered the incident ever since.  His name was Jay Gatsby, and I didn’t lay eyes on him again for over four years- even after I’d met him on Long Island I didn’t realize it was the same man.”    It’s so easy to reduce Daisy to the materialstic skank that stays with an awful man for the money because Nick looks at her like that by the end of the book, but I want to suggest, Fitzgerald is doing something so much more interesting than that.  She has a white childhood- nothing the color- but Daisy is Fitzgerald’s doppelganger.  I want to point out something many people have observed- neither Daisy nor Gatsby are every described physically.  Gatsby is described by his dress- Daisy is described by her voice- everything else we have to create in our imaginations.  They aren’t real- they are both dreams.  But while Gatsby goes away and keeps the dream alive for five years- Daisy’s dream of Gatsby dies early.  Notice that as she sits in that car, Jordan remembers it becaue of the way Gatsby looks at her- in a way that every young girl wants to be looked at some time.” What’s more dreamy than that- but the very next paragraph Daisy’s dream is over.  Read what Fitzgerald says,     “Wild rumors were circulating about her- how her mother had found her packing her bag one winter night to go to New York and say good-by to a soldier who was going overseas.  She was effectually prevented, but she wasn’t on speaking terms with her family for several weeks.  After that she didn’t play around with soldiers anymore, but only with a few flat-footed short-sighted young men in town, who couldn't get into the army at all.  By the next autumn she was gay again, as gay as ever.  She had a debut after the Armistice, and in February she was presumably engaged to a man from New Orleans.  In June she married Tom Buchanan of Chicago, with more pomp and circumstance than Louisville ever knew before.  He came down with a hundred people in four private cars, and hired a whole floor of the Seelbach Hotel, and the day before the wedding he gave her a string of pearls valued at three-hundred and fifty thousand dollars.”    BTW- I looked up how much that would be today- and the estimates started around 4 million.    True- but the next part is what I want to highlight.  Let me read what Jordan says, “I wa a bridesmaid.  I came into her room half an hour before the b ridal dinner, and found her lying on her bad as lovely as the June night in her flowered dress- and as drunk as a monkey.  She had a bottle of Sauterne in one hand and a letter in the other. “Gradulate me,” she muttered.  “Never had a drink before, but oh how I do enjoy it.”  What’s the matter, Daisy” I was scared, I can tell you; I’d never seen a girl like that before.  “Here, deares”She groped around in a waste-based she had with her on the bed and pulled out the string of pearls. “Take ‘em down-stairs and give ‘em back to whoever they belong to. Tell ‘em Daisy’s change her mine. Say “Daisy’s change her mind. “  She began to cry- she cried and cried.  I rushed out and found her mother’s maid, and we locked the door and got her back into a cold bath. She wouldn’t let go of the letter.  She took it into the tub with her and squeezed it up with a wet ball, and only let me leave it in the soap-dish when she saw that it was coming to pieces like snow.  But she didn’t say another word.  We gave her spirits of ammonia and put ice on her forehead and hooked her back into her dress, and half an hour later, when we walked out of the room, the pearls were around her neck and the incident was over.  Next at five o’clock she married Tom Buchanan without so much as a shiver, and started off on a three months trip to the South Beach.  I saw them in Santa Barbar when they came back, and I thought I’d never seen a girl so mad about her husband.  If he left the room for a minute she’d look around uneasily, and say, “Where’s tom gone…….let me skip down to the end of the paragraph…skipping over the part where Daisy spends hours rubbing fingers over his eyes…after I left Santa Barbara Tom ran into a wagon on the Ventura road one night and ripped a front wheel off his car.  The girl who was with him got into the papers, too, becaue her arm was broken- she was one of the chambermaids in the Santa Barbara Hotel.    Wow- well, there are eyes, cars and a lot of the stuff we’ve talked about before.    True- but there’s another really important thing to notice- WATER.  Water plays a huge role in the book- it’s between the eggs, in chapter 5 we’ll talk about the rain, but what does it mean- well- we’ve talked about this in several books- but water is the most primal of archtypes- it’s important in every religion as a sign of rebirth and renewal- which is what’s going on here.  Daisy got baptized the night before her wedding- she went under that icey water and let her letter from Gatsby disintegrate and she came up the ice princess- a woman so devoid of feeling that she exist in a world where she knows she’s nothing both an ornament,  a statue or a collector’s item- the golden girl.  Gatsy founded his vision on Daisy Fay- the fairy- the girl he described as “gleaming like silver safe and proud above the hot struggles of the poor”. We’re going to see in chapter 5 that he literally glows in her presence.  But that girl came down to reality well before Gatsby every did.  You’re going to see next week that Gatsby has two baptisms himself, and one is in his backyard in the swimming pool.      Yikes- well after Fitzgerald destroys Daisy’s dream- he goes after Gatsby- at the end of chapter 4, Fitzgerald gives the narrator role back to Nick.  Jordan finishes her story by talking about how Gatsby’s house is across the water from Daisy’s house.  “But it wasn’t a coincidence at all. “Why not.” “Gatsby bought that house so that Daisy would be just across the bay.”  Then it had not been merely the stars to which he had aspired on that June night.  He came alive to me, delivered suddenly from the womb of his purposeless splendor.  “He wants to know , “continued Jordan” if you’ll invite Daisy to your house some afternoon and then let him come over.”  The modesty of the demand shook me.  He had waited five years and bought a mansion where he dispensed starlight to casual moths- so that he could “come over” some afternoon to a stranger’s garden.”  …Jordan ends her chat with Nick telling him he’s supposed to set it up but Daisy isn’t supposed to know about it…then Nick and Jordan make out in the car in quite possibly the most unromantic love scene I’ve ever read, “Unlike Gatsby and Tom Buchanan, I had no girl whose disembodied face floated along the dark cornices and blinding signs, and so I drew up the girl beside me, tightening my arms.  Her wan, scornful mouth smiled, and so I drew her up again closer, this time to my face.    Isn’t there a cliché- if you can’t be with the one you love- love the one you’re with.    This is even worse than that- if you can’t find someone to love- be with a disembodied face.    Chapter 5 is the big meeting- the middle of the chapter- the chapter Fitzgerald told Max Perkins his editor, he loved the most.     It’s also where, from my perspective, this is where we see a lot of the mythical qualities stand out which makes me think Greek- as you know because Shakespeare did a lot with this- Empedocles, the Greek philosopher came up with the famous four-part theory kind of saying everything comes from air, water, earth and fire- and as we see Fitzgerald play around with all the traditional colors, I can’t help but see him play around with the traditional basic elements that the ancients thought created the world.      Great point- there everywhere- Daisy floats around, the valley of ashes is the earth, Manhattan is fire hot, and then there is all this emphasis on water- which we’re going to see water play such an important role in the most important parts of the story-.here in chapter 5, after Gatsby tries unsuccessfully to recruit Nick to work for the mob- which was a kind of funny exchange- we arrive at the famous moment where Gatsby and Daisy meet- and it is “POURING RAIN”- and rain means rebirth, regeneration- Gatsby- it’s also blistering hot- there are references t “pink clouds” after Daisy visits the mansion.  It’s all there all the elements that make for recreating the world- except as we know- this is all an illusion.   It’s all fake.  But let’s walk it back and go through this scene- with the archetypes in the back of our mind with the colors and the Greek elements- but they are the supporting details- the real focus of this chapter is on Gatsby’s absolute determination to walk back time.  Matthew Bruccoli wasTHE premiere American expert on F. Scott Fitzgerald, he died in 2008, but he wrote the preface which is in the authorized version of the book that most students at least in this country use- it has the blue face with eyes in the middle of the cover and red lipstick with the fire of the city below.  Anyway, in his preface, he says that Fitzgerald references time 450 – 87 direct references to the word itself- never mind the constant use of time symbolism.  That is really what I want us to focus on for the rest of this discussion because at the end of the day- what Gatsby wants to do is stop time.  He wants to walk back time.  When he walks in with his white suit and gold tie- he wants to recreate the moment Jordan told us about when he met Daisy this first time- except this time he’s an version of himself that would have been competitive with Tom or whatever image he has made up in his nmind.  Daisy with her “clear artificial note” says, “I certainly am awfully glad to see you again.”  And what does he do, he leans his head so far back that it rest against the face of a defunct mantlepiece clock.  As Gatsby talks the clock tilts dangerously at the pressure of his head and he has to turn and catch it before it crashes and breaks.   When Gatsby says, “I’m sorry about the clock.”  He IS sorry about the clock.  He’s sorry about the lost five years.     For Gatsby, his body is in the present but his mind is five years in the past.  I don’t really want to get Freudian but this does remind me of a Freud quote, Freud says, ““We call a belief an illusion when a wish-fulfilment is a prominent factor in its motivation” (Freud, 1962, p. 28)   Yes, and for Gatsby this is something money can buy- time is something you can create; something you can buy- like everything else that is for sale in this world.  If you’re rich enough you can buy everything- even time- even Daisy.      The scene where Gatsby takes Daisy over to his house in the movie version with Leonardo DiCaprio is so memorable.  And now that you mentioned colors- I tend to notice them.  There is a gold odor- whatever that could be- and a lot of purple which is made from blue and red- this scene is about the illusion of love.    Yep- now you’re tracking with Fitzgerald.  Here’s a good line, they are in Gatsby’s bedroom and he is evaluating everything in his house according to the measure of Daisy’s response to it.  Then it says this, “After his embarrassment and his unreasoning joy he was consumed with wonder at her presence.  He had been full of the idea so long, dreamed it right through to the end, waited with his teeth set, so to speak, at an inconceivable pitch of intensity.  Now, in the reaction, he was running down like an overwound clock.” Now that is poetic language if you have ever read it!!!     The funniest scene to me is the one with the shirts.    I know.  It’s funny and I think we should keep reading.      Recovering himself in a minute he opened for us two hulking patent cabinets which help his massed suits and dressing gowns and ties, and his shrits, piled like bricks in stacks a dozen high.  “I’ve got a man in England who buys me clothes.  He sends over a selection of things at the beginning of each seasons, spring and fall.”    He took out a pile of shirts and began throwing them, one by one, before us, shirts of sheer linen and thick silk and fine flannel, which lost their folds as they fell and covered the table in many-colored disarray.  While we admired he brought more and the soft rich heap mounted higher- shirts with stripes and scrolls and plaids in coral and apple-green and lavender and faint orange,with monograms of Indian blue.  Suddenly with a strained sound, Daisy bent her head into the shrts and began to cry stormily.  “They’re such beautiful shirts,” she sobbed, her voice muffled in the thick folds. “It makes me sad because I’ve never seen such- such beautiful shirts before.”    Why do you think she cries?  I have always found this strange.      Well, of course, I don’t know.  But it could be a couple of things- you know, like you mentioned about Daisy, the ice queen from the previous chapter- Daisy may be understanding what Gatsby doesn’t- that this is an illusion their relationship isn’t real.   It could be that Daisy is regretting marrying Tom and thinking about having a life with Gatsby.  But honestly, when I put on- my historical lens, I remember that this is the 1920s, WW1 destroyed for the people, and not just American people, but people in England, Germany, France and Spain- it destroyed for so many the values on which they had created their whole culture and identity. if I look at this book the way you’ve been wanting us to look at it- full of symbolism, mythology and meaning- I land on the idea that for many people up to that point, and even today, we believe that love and materialism are not connected.  People won’t love you because of your money, not really, and you can have love even if you don’t have money.  I mean, we can subscribe to those ideas- but what we see in Daisy is someone who, in her own words, is cynical- that’s the first thing she told us about herself.  This is the woman who literally wants her daughter to be a beautiful fool- and here’s she’s crying.  In general, cynical people don’t cry.  So why is she crying, one idea is because Daisy, like so many of her generation, finds the shirts and the materialism they represent the substitute for the innocent fulfilling love of her white past- the one she doesn’t believe in anymore- the one that doesn’t exist- it’s a beautiful moment that she shares with Gatsby- but she believes the shirts are safe real thing in the room- and that would make me cry too.      Well, it’s certainly possible that this encounter with the real Daisy instead of the one Gatsby had made up in his head is having a similar effect on Gatsby himself.  He says this, “If it wasn’t for the mist we could see your home across the bay.” “You always have a green light that burns all night at the end of your dock.”  Remember Green is the color of growth but also the color of money.    Daisy put her arm through his abruptly, but he seemed absorbed in what he had just said.  Possibly it had occurred to him that the colossal significance of that light had now vanished forever.  Compared to the great distance that had separated him from Daisy it had seemd very near to her, almost touching her.  It had seemed as close as a star to the moon.  Now it was again a green light on a dock.  His count of enchanted objects had diminished by one.      Daisy calls then to the window just a little while later and we see that the rain is still falling, but the darkness had parted in the west, and there was a pink and golden billow of foamy clouds above the sea.  “Look at that” she whispered and then after a moment, “I’d like to just get one of those pink could and put you in it and push you around.”    And this chapter which at face value is absolutely as romantic as this book will ever get ends with such cynicism, such irony- it’s very much the nihilism and post modernism so often seen in the 1920s.  Klipsinger is playing two songs that were super popular in the 1920s, you can listen to them on youtube.  The love nest was a very popular song about a house.  It literally says that the love nest is a small house on a farm but filled with warmth and love inside and is better than a palace with a gilded dome- yikes- this house is the gilded one.  The second song, the one actually quoted in the text is from a song called “Aint’ we Got Fun”.  The lines in the book read this, “One thing’s sure and nothing’s surer the rich get richer and the poor get- children”.      Both Daisy had Gatsby pursued love in their youth-  but they aren’t those people any more.  Daisy is the ice queen, and Gatsby created his own Daisy something he can literally purchase- and  that’s not love either, not really.  Fitzgerald’s sarcasm is in the song choice.  The chapter ends like this, “As I went over to say good-by I saw that the expression of Bewilderment had come back into Gatsby’s face, as though a faint doubt had occurred to him as to the quality of his present happiness.  Almost five year!  There must have been moments even that afternoon when Daisy tumbled short of his dreams- not through her own fault, but because of the colossal vitality of his illusions.  It had gone beyond her, beyond everything.  He had thrown himself into it with a creative passion, adding to it all the time, decking it out with every bright feather that drifted his way.  No amount of fire or freshness can challenge what a man will store up in his ghostly heart.  As I watched him he adjust himself a little, visibly.  His hand took hers, and as she said something low in his ear he turned toward her with a rush of emotion.  I think that voice help him most, with it fluctuating, feverish warmth because it oculdn’t be over-dreamed- that voice was a deathless song.    And of course Nick leaves them to go walk in the rain.    What do you think?   You don’t have the Jane Austen happy ending feeling do you?    No.  You really don’t.   

“Nueva York empezó a gustarme por su chispeante y aventurera sensación nocturna, y por la satisfacción que presta a la mirada humana su constante revoloteo de hombres, mujeres y máquinas. Gustaba de pasear por la Quinta Avenida y elegir románticas mujeres de entre la multitud; imaginar que dentro de breves minutos irrumpiría en su vida, sin que nadie lo supiera o desaprobara”. -Fragmento de 'El Gran Gatsby'- Francis Scott Fitzgerald nació en 1.896 en Saint Paul, Minnesota. Abandonó la Universidad de Princeton en 1.917 para alistarse en el ejército durante la I Guerra Mundial. Se enamoró de Zelda Sayre, hija de un juez, y se casó con ella a los veinticuatro años, tras lograr el éxito con su primera novela “A este lado del paraíso”. Juntos tuvieron una hija, y él mantenía a la familia escribiendo relatos para revistas populares. Su segunda novela, “Hermosos y malditos”, confirmó su reputación como principal cronista y crítico de la era del jazz. En 1.924 se trasladó con Zelda a la Costa Azul francesa para escribir “El gran Gatsby”. Posteriormente vivirían a caballo entre Francia y Estados Unidos. Fitzgerald tuvo una relación problemática con el alcohol; tras publicar “Suave es la noche” en 1.934, batalló durante dos años contra la bebida y la depresión. En 1.937 probó a escribir guiones para Hollywood, donde murió de un ataque al corazón en 1.940 a los cuarenta y cuatro años. Charlando con Ernest Hemingway, la escritora y anfitriona literaria Gertrude Stein de refirió a una generación perdida de jóvenes: aquellos que habían servido en la I Guerra Mundial. Según Hemingway, Stein había oído por primera vez la expresión en boca del propietario de un taller que le había reparado el coche: un detalle anecdótico que resuena sugestivamente en las escenas del garaje de “El gran Gatsby”. En este contexto significa desorientada o alienada, más que desaparecida. Después de que Hemingway la empleara en el epígrafe de su novela “Fiesta”, la expresión “Generación Perdida” vino a designar a un grupo de jóvenes autores estadounidenses expatriados en el crisol creativo del París de los años veinte, que incluía a Scott Fitzgerald, John Dos Passos, Ezra Pound y el propio Hemingway. La I Guerra Mundial les había dejado su impronta, y ellos eran inquietos y cínicos, y buscaban sentido en la experiencia del amor, la escritura, la bebida y el placer. Fitzgerald, uno de los escritores más importantes de la Generación Perdida, se vio seducido por el centelleo de la llamada en la década de 1.920, al mismo tiempo que era agudamente consciente de sus deficientes valores morales y de la vacuidad de su promesa de una vida mejor para todos. Su novela más famosa, “El gran Gatsby”, relata la historia del sueño de amor frustrado de Jay Gatsby, pero es al mismo tiempo la historia del fracaso del Sueño Americano, en que su promesa de un mundo mejor se revela como una farsa. Fitzgerald veía la era del jazz como una época milagrosa y excesiva, marcada por una nueva prosperidad posbélica centrada en Wall Street, donde se hacían fortunas inmensas comerciando con acciones y bonos. El ideal del hombre hecho a sí mismo era un atractivo antídoto contra el poder del dinero transmitido por herencia y el matrimonio entre las mejores familias. En Estados Unidos, los años veinte parecían ofrecer una nueva movilidad social que sanaba las heridas de clase y desafiaba al esnobismo. Los que habían buscado suerte en el Oeste ahora volvían al Este para hacer fortuna y gastar sus riquezas en casas magníficas, lujosos objetos y un alto nivel de vida; al menos, ese era el sueño. Pero la realidad era que la riqueza para unos conllevaba el empobrecimiento de otros, y además suscitaba una cultura de brillo superficial, pero moral y espiritualmente vacía. La falsedad cundía en todas sus formas y el esnobismo pervivía: simplemente había encontrado nuevos objetivos. Tras la aprobación en 1.919 de la 18ª Enmienda, que prohibía la venta de alcohol, muchos emprendedores canalizaron su talento hacia el contrabando de licor ilegal, gran parte del cual se vendía en bares clandestinos. Por otra parte, el racismo era algo generalizado; en el primer capítulo de la novela, Tom Buchanan lo expresa abiertamente: “ Si no nos mantenemos en guardia, la raza blanca acabará….., acabará hundiéndose completamente”. Scott Fitzgerald veía su novela como . Este brillo, reflejado en una prosa sensual teñida de un tono romántico, es visible en el deslumbrante glamour de la lujosa sociedad de la Costa Este que Fitzgerald retrata. Jay Gatsby, posee una mansión colosal al estilo de una villa francesa en el West Egg, en la costa de Long Island frente a Nueva York. Gatsby es un enigma, un recién llegado del Medio Oeste sobre el que circulan muchos rumores: que asesinó a un hombre, que su supuesta educación en Oxford es mentira, que hizo su fortuna con el alcohol ilegal…...Cada sábado celebra decadentes fiestas con cientos de invitados, según describe Nick Carraway, el narrador, que ha alquilado una pequeña casa vecina. En estas juergas hay risas y jazz, pero también mucha embriaguez y riñas, especialmente entre parejas. De hecho, a lo largo de la obra, los diálogos entre hombres y mujeres suelen ser frívolos e insinceros. Nick llegará a conocer a Gatsby y descubrirá su secreto: que durante cinco años ha estado obsesivamente enamorado de la bella y mundana Daisy Buchaman, la cual resulta ser prima de Nick, y que está casada con Tom Buchanan, un adinerado amigo de universidad de Nick. Daisy es la razón de que Gatsby haya comprado la mansión en la orilla opuesta a la de la casa colonial georgiana de Tom y Daisy, en el East Egg. Gatsby exhibe su riqueza, adquirida en oscuros negocios con un criminal de aire mafioso llamado Meyer Wolfsheim, con el único objetivo de recuperar a su amor perdido, ahora que por fin dispone de capital para mantenerla. Los temas de la novela se desarrollan sobre una topografía muy simbólica. El East Egg, hogar de Daisy y Tom, así como de la mayoría de los invitados a las fiestas de Gatsby, simboliza los valores tradicionales y el dinero viejo; el West Egg, donde vive Gatsby, representa la moderna opulencia de los nuevos ricos. Cerca se halla Nueva York, repleta de negocios turbios y placeres clandestinos. En medio, el : una extensión de terreno donde se materializa la desolación subyacente al glamour. Esta región desolada recuerda a “La tierra baldía” de T.S. Elliot, cuyo título hace referencia al antiguo mito de un reino azotado por una maldición. Aquí vive la amante de Tom Buchanan, Myrthe Wilson, con su triste y pasivo marido, propietario de un garaje, cerca de la gigante valla publicitaria de una óptica. Las gafas del anuncio constituyen un guiño irónico, pues en el mundo de Gatsby nadie muestra demasiada claridad visual; ni siquiera Nick, quién dice que “suelo reservarme mis juicios”, pero que en realidad se siente superior a todos, incluida su cínica novia, la golfista profesional Jordan Baker. Jordan y Daisy aparecen primero vestidas de blanco, pero ninguna de ellas es tan inocente como este color podría sugerir. En “El gran Gatsby” el color tiene un valor altamente simbólico. Gatsby viste un traje rosa y conduce un Rolls-Royce amarillo, colores que denotan su necesidad desesperada de impresionar. Uno de los símbolos dominantes en la novela es el verde, el color de la luz al final del embarcadero de Daisy, hacia donde Gatsby mira con anhelo desde el otro lado del agua. En las páginas finales, a solas en el jardín vacío de Gatsby, Nick tiene la visión de “un pecho de nuevo mundo, verde y joven”, vislumbrado por los primeros colonos que llegaron a Long Island, y medita sobre la creencia de Gatsby en esa simbólica “luz verde, el futuro orgiástico que año tras año retrocede ante nosotros”. Es aquí, bajo esa luz verde y en esa tierra verde, donde convergen las inquietudes de la novela sobre el destino del individuo y de la nación. Al final de la novela, viendo el Este como un lugar afligido por la tragedia y según Nick “distorsionado, sin que mis ojos pudieran corregirlo”, este regresa a su hogar del Medio Oeste. Con sus cambiantes, mundanas y sumamente matizadas percepciones y simpatías, Nick es tan protagonista de la novela como Gatsby. La reflexión que nos deja es que el pasado tira irresistiblemente de nosotros : los sueños de progreso son puro oropel. Mientras planificaba la novela, en 1.923 , Scott Fitzgerald escribió que . Logró esta ambición, pero inicialmente la novela recibió una crítica desigual y se vendió mal. En el momento de su muerte, Fitzgerald se consideraba un fracasado: en la declaración de derechos de autor de su último año de vida, solo se consignaron setenta y dos ejemplares vendidos de sus nueve títulos. Actualmente, “El gran Gatsby” y “Suave es la noche” se cuentan generalmente entre las mejores novelas estadounidenses. “Suave es la noche”, publicada en 1.934, noveliza hebras de la turbulenta vida del autor, incluidos el adulterio, la enfermedad mental y una aguda sensación de fracaso personal y creativo. “El gran Gatsby” es la más aclamada de sus obras. Es particularmente admirada por su análisis forense de un ambiente y sus defectos; por su prosa finamente calculada, que combina la informalidad de la primera persona con una soberbia cadencia descriptiva; por sus diálogos magníficamente expresivos, capaces de revelar un vacío moral en el más breve de los intercambios; y por su perfección estructural, que es notable, por ejemplo, en el encaje del relato de Jordan de los antecedentes de Gatsby, que es tanto retrospectivo como prospectivo. Al igual que el resto de la Generación Perdida, Fitzgerald expresaba una reacción al espíritu de la época, o sea, desilusión, pérdida de rumbo moral, prevalencia de lo material sobre lo espiritual, y, sin embargo, su novela trasciende el momento de su creación. Ello se debe en parte a su vigencia en el mundo actual, con sus celebridades, su voracidad empresarial y su economía mundial impulsada por el precio inflado de los activos. Pero también es intemporal porque, estéticamente, cada uno de sus aspectos testimonia la incuestionable maestría de Scott Fitzgerald en el arte narrativo.

Today's episode is a continuation of the previous novel. In the second chapter of The Great Gatsby, Nick gets dragged along by Tom Buchanan to meet his girl and have a night out, further enjoying and detesting the decadence of the upper class. Abigail's Bandcamp: https://abigailkay.bandcamp.com/ Emily Kokot's Graphic Design page: https://www.emilykokot.com/ My Twitter: https://twitter.com/SheaCunha Submissions: sheacunha@gmail.com

Pour yourself some illegal bootleg liquor and immerse yourself in this scandalous, crime-soaked tale. Overflowing with parties, booze, mob bosses, fights, affairs, and car bombs, Tom Buchanan, Misunderstood is an uproarious homage to Gatsby.As he copes with marital strife, boxing matches, and explosives, Tom realizes everything he loves is at risk. But doing something about it might just get him killed.A vivid portrait of a unique era, this surprising novel jolts us to realize that there are always multiple sides to every story, and that the road to love is often blocked with smashed up cars. Tom Buchanan, Misunderstood, reveals a side to a character everyone thought they knew. Buckle up for a wild ride.(Available on amazon.)

Between the glitzy parties, secret backstories and climactic murder in F. Scott Fitzgerald’s classic novel The Great Gatsby, there’s a tiny detail that readers may have missed: right before he gets in a car with antagonist Tom Buchanan—the ride that kicks off the novel’s tragic end—narrator Nick Carraway realizes he’s forgotten his own birthday.

Chapter 2- Nick spends a Sunday afternoon in the company of Tom Buchanan as he travels into the city to visit his girlfriend that he keeps on the side Chapter 3-Jay Gatsby throws another one of many lavish lawn parties and invites Nick who gives us the play by play SUPPORT OUR SHOW BY BECOMING A PATRON! www.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). Catch ALL our author interviews in one place here at 1001 History's Best Storytellers! Android devices: https://podbay.fm/p/1001-historys-best-storytellers (cut and paste into your url) Apple devices: https://podcasts.apple.com/au/podcast/1001-historys-best-storytellers/id1483649026 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Enjoy 1001 Greatest Love Stories on Android devices here: ​​https://www.stitcher.com/s?fid=479022&refid=stpr.  Get all of our shows at one website: www.1001storiespodcast.com CALLING ALL FANS.. REVIEWS NEEDED SUPPORT OUR SHOW BY BECOMING A PATRON! www.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS AND SUBSCRIPTIONS AT APPLE/ITUNES AND ALL ANDROID HOSTS ARE NEEDED AND APPRECIATED! LINKS BELOW... Open these links to enjoy our shows! APPLE USERS Catch 1001 RADIO DAYS now at Apple iTunes!  https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Catch 1001 Heroes on any Apple Device here (Free): https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2  Catch 1001 CLASSIC SHORT STORIES at iTunes/apple Podcast App Now: https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at iTunes/Apple Podcast now:  https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 ANDROID USERS- 1001 Radio Days right here at Player.fm FREE: https://player.fm/series/1001-radio-days 1001 Classic Short Stories & Tales:https://castbox.fm/channel/1001-Classic-Short-Stories-%26-Tales-id1323543?country=us 1001 Heroes, Legends, Histories & Mysteries: https://castbox.fm/channel/1001-Heroes%2C-Legends%2C-Histories-%26-Mysteries-Podcast-id1323418?country=us 1001 Stories for the Road:https://castbox.fm/channel/1001-Stories-For-The-Road-id1324757?country=us Catch ALL of our shows at one place by going to www.1001storiesnetwork.com- our home website with Megapho Learn more about your ad choices. Visit megaphone.fm/adchoices

Let's take an intimate look at the characterization of Tom Buchanano: a vile, powerful, wealthy, hypocritical, and racist character by picking at the words that Fitzgerald uses to describe such a man who existed in numerous manifgestiations in the eugenics of the 1920s and 1930s, leading up to World War II and The Holocaust. Eugenics: "the study of how to arrange reproduction within a human population to increase the occurrence of heritable characteristics regarded as desirable. Developed largely by Sir Francis Galton as a method of improving the human race, eugenics was increasingly discredited as unscientific and racially biased during the 20th century, especially after the adoption of its doctrines by the Nazis in order to justify their treatment of Jews, disabled people, and other minority groups."

Anna looks at The Great Gatsby: Tom Buchanan Analysis. In this episode, she will give a quick summary of the events and traits which Tom displays in F. Scott Fitzgerald's The Great Gatsby, as well as a quick analysis of his character as a whole. Ideal for preparing you for your A Level English Literature exam. Click here for the full course, or visit this link: http://bit.ly/36ZLiAA

Conversations with Bruce Dern on January 7, 2014. Moderated by Joshua Rothkopf, Senior Film Writer, Time Out New York. Bruce Dern's tremendous career is made up of playing both modern day heroes and legendary villains. Through decades of critically acclaimed performances, Bruce has acquired the reputation of being one of the most talented and prolific actors of his generation. A celebrated stage actor, Bruce was trained by famed director Elia Kazan at The Actor's Studio and made his film debut in Kazan's "Wild River" (1960). In the 1960's, Bruce also found success as a distinguished television actor. He appeared regularly in contemporary Western TV-series as well as Alfred Hitchcock's television series. Hitchcock was such a fan of Bruce, he cast him in both "Marnie" and, "Family Plot" (Hitchcock's final film). During the 1960's, Bruce went on to work with director Roger Corman and appeared in several of his classic and decade defining films including "Wild Angels." He received critical success for films such as "They Shoot Horses, Don't They?" and "Drive, He Said" and went down in history for his role as Long Hair in "The Cowboys" in which he became the first man ever to kill John Wayne. Bruce went on to star in such classic films like "The King of Marvin Gardens" with Jack Nicholson and Ellen Burstyn as well as playing Tom Buchanan in "The Great Gatsby" (for which he received a Golden Globe nomination). It was his brilliant and powerful performance in Hal Ashby's "Coming Home" that earned him both an Academy Award® and Golden Globe nomination. Bruce co-starred with Charlize Theron in "Monster", one of the most critically acclaimed independent films of all time, and he can also be seen on the HBO series "Big Love." Most recently Bruce has worked with iconic directors Francis Ford Coppola in "Twixt" and Quentin Tarantino in "Django Unchained." Other credits include: "Hush...Hush, Sweet Charlotte" with Bette Davis, Douglas Trumball's "Silent Running," Michael Ritchie's "Smile," "Middle Age Crazy" with Anne Margaret, Jason Miller's "That Championship Season," "Tattoo" with Maude Adams, "The 'Burbs" with Tom Hanks, "The Haunting" with Catherine Zeta Jones, Billy Bob Thornton's "All The Pretty Horses," Bob Dylan's "Masked and Anonymous," "Down in the Valley" with Edward Norton, "Astronaut Farmer" with Billy Bob Thornton and "The Cake Eaters" with Kristin Stewart. His other outstanding films include the much heralded "After Dark My Sweet," "Harry Tracy," "On the Edge," "Laughing Policeman," "Posse," the great John Frankenheimer's "Black Sunday" and Walter Hill's "The Driver."

Na primavera de 1922, Nick Carraway chega a Nova York e vira vizinho do misterioso e festeiro milionário Jay Gatsby quando vai viver do outro lado da baía com sua prima Daisy e seu marido mulherengo Tom Buchanan. Assim, Nick é atraído para o mundo cativante dos ricos, suas ilusões, amores e fraudes. Ao testemunhar fatos dentro e fora do mundo em que habita, Nick escreve um conto de amor impossível, sonhos e tragédias que espelham conflitos em tempos modernos. Ouça comigo e admire o Grande Gatsby. Vamos juntos Entre em contato com o Paulinho Siqueira Pra entrar nos nossos grupos de Ouvintes, clique abaixo: Whatsapp Telegram Seja um Partner do Coachcast Brasil Entre em contato conosco pelo email: contato@coachcast.com.br Instale o iTunes aqui Acesse o Canal Homens de Valor no Telegram

EPISODE 014 SHOW NOTES: Episode 14 of XR Connections features an interview with Tom Buchanan, Co-Founder and Chief of Product for the haptic glove maker Contact CI. Tom discusses his experience as a participant of the XR-focused MIT Reality Hack, his team's award-winning immersive Impact Journalism project, Rising Tide, haptic technology, the Varjo XR-1 Mixed Reality Headset, Contact CI's Maestro gloves and recent advancements in hand-tracking. Tom Buchanan Massachusetts Institute of Technology MIT Reality Hack Discord Voice and Text Chat App Rising Tide MIT Reality Hack Project Rising Tide Team Members: Liam Broza LifeScope Lab, Carlos Calva, Clair Chuff, Grace Ma Varjo XR-1 Varjo XR-1 and Volvo Contact CI / Maestro Haptic Glove Cincinatti VR Meetup Vectre XR Development Studio Cincy Inno / American Inno Network Ultraleap, Leap Motion Tracking and Haptics Valve Index Controllers HandTracking/Oculus Quest NReal Glasses MagicLeap Acknowledgements: Call Recording: Skype Podcasting: Anchor Recording: Logic Pro X Music: "Are You There" by DR. MARS Hosted and Produced by Liam James O'Malley at Mars & Mercury --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Rob Cesternino is back to recap episode 4 of Survivor: Winners at War. This week, Rob is joined by Survivor Africa's Teresa T-Bird Cooper to discuss everything that happened during the episode, go through questions the listeners submitted for T-Bird!

The Geneva English Drama Society perform Gatsby! 25 - 29 February 2020 at the Théâtre Pitoëff in Geneva. Directed by Christina Vasala Kokkinaki, the show brings glamour, passion, and the decadent excess of the Jazz Age to life in this adaptation of F. Scott Fitzgerald’s classic novel. Narrated by Nick Carraway, an aspiring banker who is dazzled by the glamorous upper-class crowd of Long Island in the 1920s, this is the tale of the fabulously wealthy Jay Gatsby, who throws lavish parties in the hope of attracting the attention of his one love: the elusive Daisy, married to the brutish Tom Buchanan. Daire O'Doherty, Genna Ingold and Dmitry Borisov, who play Gatsby, Daisy and Nick respectively, join Katt Cullen in the WRS studios on the Mid Morning Mix.

Simpson not only played host to several Democratic and Republican presidential candidates during the run-up to the 2020 Iowa political caucuses, it also provide an insight into American presidential politics for more than 30 faculty and students from Australia's Adelaide University. This week's podcast features interviews with Adelaide faculty member Tom Buchanan and two of the students who spent several days at Simpson mixing with candidates and attending the state's first-in-the-nation caucuses.

Tom Buchanan returns for part 2 of our epic interview. We continue to delve in to various aspects of the magazine, including working with Vince Russo. Tom was involved in many projects including WWF's connection with AOL, XFL, WBF and ICO PRO. Here all about it along with some of the reasons why he and WWF eventually parted ways.

From Wrestlemania 1 to wrestlemania 17, Tom Buchanan was the man taking the pictures. Hear a true insiders take on how live shows were put together with many never before told stories. Tom is an open book when talking about working with Donald Trump, challenging venues and his role in WWF marketing.

Wherein your hosts talk about God and Her hair colour, why Always Be My Maybe is a new favourite, how it's possible that Keanu Reeves is still peaking, which football movie is best (spoiler: not that one) - interrupted by a squeaker - why M wants to live on an island alone, and the fate of Tom Buchanan.

WHY ARE WE QUESTIONING EVERYTHING? (PART II) With people questioning everything today, despite facts (flat earth, vaccines, etc.) are we at an unprecedented time of people who believe in their own facts? Joe gets a sociological perspective from Dr. Tom Buchanan, Chair of the Sociology and Anthropology at Mount Royal University. THE NEW BUDGET & EMS How will the new city budget affect fire services for the City of Calgary? Joe talks with Deputy Fire Chief Ken Uzeloc. JAY MOHR Comedian, actor, radio host, and author Jay Mohr comes to Calgary today to attend a fundraising event for the U of C. Joe talks comedy, wrestling, and even snow with Jay.

Wherein your hosts delve into Gatsby's past (and whether or not his self-made status is holding him back), why Tom Buchanan is such a colossal asshat, whether or not Gatsby truly loves Daisy (and vice versa), whether you can repeat the past (spoiler: no), and whether or not Tom and Daisy hold any affection for one another.

Wherein your hosts dive into chapter 2 of The Great Gatsby, discuss the asshattedness of Tom Buchanan, whether or not Nick is complicit in the chaos (spoiler: yes), why the 'party' in this chapter is grotesque above all else, whether or not the Valley of Ashes is aptly named, and just what the heck the eyes of Dr T.J. Eckleburg are looking at.

Tom Buchanan is the Co-Founder & Chief of Product at Contact Ci. Started in Syracuse University students in 2014, the founding team began Contact CI’s work on extending the reach of human hands. Mutual passions for biomimetics, wearables, immersive technology, gaming, and robotics has continually help shape the team’s vision for natural and realistics human computer interfaces. Since leaving campus, the team has expanded, secured crucial partnership, raised initial funding, and is preparing to ship the first Maestro gloves to external partners this quarter. The goal today remains the same with the team headquartered in Cincinnati, passionately developing Maestro to enable intuitive hand controls.-Trained in the integration of native SteamVR tracking into VR input devices. Led to the development and implementation of native 6 degree of freedom tracked objects designed for a room scale environment -Formulated agile development cycles that halved the weight from our E3 2016 to our SVVR 2017 models and then halved the weight again for Leap Motion integration-Prototyped motion capture glove capable of 19 of 27 degrees of freedom of the hand-Co-founded and have worn many hats during the early stages of development for the company-Managed the integration of soft and hard goods in the product development process-PCB Design and R&D-Haptic systems R&D-Demoed our motion capture system with HTC Vive integration at E3 2016-Demoed first prototype of motion capture and force feedback haptics at SVVR 2017 Expo-2015 Kairos K50 Company member-One of the earliest developers with access to the HTC Vive Trackerhttps://www.linkedin.com/in/tfbuchanan4/contactci.coVU Dream - http://www.vudream.com/VU Dream's FB - https://www.facebook.com/VUDreamOfficial/VU Dream's Twitter - https://twitter.com/VUDreamOfficialVU Dream's Instagram - https://www.instagram.com/vudreamofficial

Az is joined this week with cofounders Craig Douglass and Tom Buchanan to talk about the challenges behind simulating the high amount of degrees of freedom of hands, simulating the sense of touch, and creating finger push-back haptics. Contact CI: https://contactci.co/ Craig Douglass: https://twitter.com/C_F_Douglass Tom Buchanan: https://twitter.com/tfbuchanan4?lang=en

Part 2 of my epic and fun chat with Tom Buchanan has arrived!  In his most in-depth interview, I cover everything from all of the promotional duties that he was involved with, the celebrities he worked with, the death of Owen Hart as an eye witness and urban myths which are either confirmed or written off!   Image - ©WWE      The show also features music by Chris Price. For more info, visit: https://chrispricemusic.bandcamp.com/     Pablo's Poppin' Podcast is proudly sponsored by "Fifteen Surefire Tips for Relieving Back Pain (Plus 192 Others, Just in Case)" available to buy at Amazon  http://www.amazon.com/Fifteen-Surefire-Tips-Relieving-Others/dp/0985201770/ref=sr_1_2?ie=UTF8&qid=1462577643&sr=8-2&keywords=15+sure+fire+tips

As a hardcore fan of the WWF approx 1984 - 1997, it was a huge honour to be able to interview Tom Buchanan, WWF's chief of photography for many years during that period and beyond.  Part 1 spends time delving into his early years as a photographer and covers some of the more technical aspects of WWF production which have never been talked about before! Tom is a wealth of awesome stories, guaranteed to entertain!  Also, yes, you do hear me scratch my leg for an unhealthy amount of time...I swear it's my leg.    Image - ©WWE      The show also features music by The Armoires. For more info, visit: https://www.facebook.com/thearmoires     Pablo's Poppin' Podcast is proudly sponsored by "Fifteen Surefire Tips for Relieving Back Pain (Plus 192 Others, Just in Case)" available to buy at Amazon  http://www.amazon.com/Fifteen-Surefire-Tips-Relieving-Others/dp/0985201770/ref=sr_1_2?ie=UTF8&qid=1462577643&sr=8-2&keywords=15+sure+fire+tips

SF’s Victorian homes are typically referred to as “painted ladies” due to the houses being painted four or more exterior colors. What many don’t know is that term was originated from a book published in 1978 by authors Elizabeth Pomada and Michael Larsen. On this episode, we will chat with contractor and home remodeler Tom Buchanan about his love of Victorian homes and how he started Hammerhouse Construction while Making It Work!