Introduction
F. Scott Fitzgerald’s The Great Gatsby, published in 1925, is a seminal work of American literature that critiques the societal structures and cultural obsessions of the Jazz Age. Set in the fictional towns of West Egg and East Egg on Long Island, the novel explores the complexities of wealth, status, and the American Dream through a vivid portrayal of social class. This essay examines how social class is presented in the first three chapters of the novel, focusing on the distinctions between old money, new money, and the working class, as well as the symbolic settings and character interactions that underscore these divisions. Through a close reading of Fitzgerald’s text, supported by relevant literary analysis, this discussion will argue that social class is a central theme, depicted as both a rigid barrier and a source of aspiration, ultimately revealing the hollowness of material success in the pursuit of social acceptance.
Old Money and Social Superiority in East Egg
In the opening chapters of The Great Gatsby, Fitzgerald introduces the concept of old money through the characters of Tom and Daisy Buchanan, who reside in the aristocratic enclave of East Egg. This setting represents inherited wealth and longstanding social privilege, a stark contrast to the nouveau riche of West Egg. Tom’s family background is described as one of “enormous inherited wealth” (Fitzgerald, 1925, p. 6), positioning him as a figure of entrenched power. His domineering personality and casual racism, evident in his endorsement of eugenicist ideas during a dinner conversation in Chapter 1, reflect an arrogance rooted in his belief in the inherent superiority of his class (Fitzgerald, 1925, p. 13). Daisy, meanwhile, embodies a superficial elegance, her voice described as “full of money” by Gatsby later in the novel, a quality hinted at in her charm and detachment in these early scenes (Fitzgerald, 1925, p. 115).
Critically, East Egg is not merely a physical space but a symbol of exclusion. As noted by Bewley (1954), the old money elite maintain their status through subtle social codes and an air of effortless privilege, which alienates outsiders. This is evident in the Buchanans’ interactions with Nick Carraway, the narrator, who, despite familial connections to Daisy, remains an observer rather than a true insider. Thus, Fitzgerald uses East Egg to illustrate how old money perpetuates a class hierarchy that is as much about cultural capital as it is about wealth itself.
New Money and the Pursuit of Status in West Egg
In contrast to the established wealth of East Egg, West Egg—home to Jay Gatsby and Nick—represents the world of new money, where wealth is recently acquired and often viewed with suspicion by the traditional elite. Gatsby’s mansion, described in Chapter 1 as a “colossal affair” with a “spanking new” appearance, lacks the refined patina of East Egg homes (Fitzgerald, 1925, p. 5). This architectural detail underscores the gauche, almost performative nature of Gatsby’s wealth, which seeks to emulate old money but falls short in authenticity. While Gatsby himself remains an enigmatic figure in these early chapters, his social gatherings, glimpsed by Nick in Chapter 3, are chaotic and ostentatious, filled with “people who hadn’t been invited” and marked by excess (Fitzgerald, 1925, p. 41). This contrasts sharply with the restrained elegance of the Buchanans’ world.
Scholars such as Donaldson (1984) argue that Fitzgerald uses West Egg to critique the American Dream’s promise of upward mobility, suggesting that new money cannot buy the social acceptance craved by characters like Gatsby. Indeed, Nick’s own position as a middle-class observer renting a modest home in West Egg further highlights the precariousness of social climbing. His proximity to wealth, yet separation from it, mirrors the broader tension between aspiration and reality that defines the new money class in these chapters. Therefore, West Egg serves as a site of both ambition and disillusionment, illustrating the limitations of wealth without pedigree.
The Working Class and Marginalisation in the Valley of Ashes
Beyond the glittering enclaves of East and West Egg lies the Valley of Ashes, a desolate wasteland introduced in Chapter 2, which represents the stark reality of the working class. Described as a “fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens,” this setting is a powerful metaphor for industrial decay and social neglect (Fitzgerald, 1925, p. 23). Here, characters like George and Myrtle Wilson struggle in poverty, their lives overshadowed by the towering billboard of Doctor T.J. Eckleburg, whose eyes seem to survey the hopelessness of their existence. George’s garage, a failing business, symbolises the impossibility of economic advancement, while Myrtle’s desperate affair with Tom Buchanan reflects her longing to escape her class constraints.
Fitzgerald’s portrayal of the Valley of Ashes has been widely interpreted as a critique of capitalism’s unequal distribution of wealth, a perspective supported by Tanner (1990), who notes that the working class in the novel are rendered invisible to the elite except as objects of exploitation or scorn. Myrtle’s objectification by Tom, evident in his casual brutality and dismissive attitude in Chapter 2, underscores how class intersects with power dynamics, rendering the lower classes vulnerable (Fitzgerald, 1925, p. 29). Thus, the Valley of Ashes reveals the harsh underbelly of the American Dream, where social class dictates not only opportunity but also basic human dignity.
Character Interactions as Indicators of Class Tensions
The interactions between characters in the first three chapters further illuminate the pervasive influence of social class. Tom Buchanan’s affair with Myrtle Wilson, for instance, is a clear manifestation of class exploitation; he uses his wealth and status to dominate her, while Myrtle views him as a ticket to a higher social stratum. This dynamic is painfully evident during their encounter in a New York apartment in Chapter 2, where Myrtle’s attempts to mimic upper-class behaviour are met with derision (Fitzgerald, 1925, p. 31). Similarly, Nick’s uneasy position as a mediator between different classes—related to Daisy yet distanced from her world, and intrigued by Gatsby yet critical of his excess—highlights the social barriers that even personal connections cannot fully bridge.
Furthermore, the rumours and speculation surrounding Gatsby, which surface in Chapter 3 during his party, reflect the old money elite’s suspicion of the nouveau riche. Guests whisper about his supposed criminal past or mysterious origins, revealing a deep-seated class prejudice that denies legitimacy to new wealth (Fitzgerald, 1925, p. 44). These interactions, as Bloom (2006) suggests, demonstrate that social class in The Great Gatsby is not merely an economic category but a deeply ingrained social identity, shaping perceptions and relationships in profound ways.
Conclusion
In conclusion, the first three chapters of The Great Gatsby present social class as a defining and divisive force in the lives of Fitzgerald’s characters. Through the contrasting settings of East Egg, West Egg, and the Valley of Ashes, the novel delineates the rigid hierarchy separating old money, new money, and the working class. Character interactions further reveal the tensions and prejudices that sustain these divisions, exposing the hollowness of wealth as a means to social acceptance. While East Egg embodies entrenched privilege, West Egg reflects futile aspiration, and the Valley of Ashes exposes stark inequality, together painting a damning portrait of a society obsessed with status. These early chapters lay the groundwork for the novel’s broader critique of the American Dream, suggesting that class barriers are insurmountable, regardless of personal ambition or material success. This exploration of class not only enriches our understanding of Fitzgerald’s narrative but also prompts reflection on the enduring relevance of such divisions in contemporary society.
References
- Bewley, M. (1954) ‘Scott Fitzgerald’s Criticism of America’, *Sewanee Review*, 62(2), pp. 223-246.
- Bloom, H. (ed.) (2006) *F. Scott Fitzgerald’s The Great Gatsby*. New York: Chelsea House Publishers.
- Donaldson, S. (1984) ‘The Trouble with Nick’, in Bloom, H. (ed.) *F. Scott Fitzgerald*. New York: Chelsea House Publishers, pp. 131-145.
- Fitzgerald, F. S. (1925) *The Great Gatsby*. New York: Scribner.
- Tanner, T. (1990) *The American Mystery: Essays on American Literature*. Cambridge: Cambridge University Press.
