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Additional info for F. Scott Fitzgerald's The Great Gatsby (Bloom's Guides)
As the orchestra launches into another bombastic work (with the pretentious title, The Jazz History of the World), Nick watches Gatsby not only maintain rectitude in the face of his clamorous party, but also actually become more careful as everyone around him descends into stumbling incoherence. Gatsby is utterly separate from all of it in ways that will mirror Nick’s own isolation as it develops later. As he observes his host’s near exclusion from his own party, Jordan is called away, as Gatsby wishes to talk with her alone.
Myrtle, by the time company arrives, is wearing cream. It’s not white, but she is approaching the palette of the elite, and it rustles, appropriating the movement more typical to both Jordan and Daisy. The McKees arrive as well. He is a photographer, the one who took the photo of Myrtle’s mother, and is, like George, dominated by his carping wife. As the conversation progresses, Catherine asks Nick if he knows Gatsby. She tells him that people think Gatsby is a descendant of Kaiser Wilhelm, the ruler of Germany before and during World War I.
When he does, his observations sharpen, contradict, and paint Gatsby in a memorable paragraph wherein the man is forcefully revealed as cultivating his own persona: He smiled understandingly—much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced—or seemed to face—the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself, and assured you that it had precisely the impression of you that, at your best, you hoped to convey.
F. Scott Fitzgerald's The Great Gatsby (Bloom's Guides) by Harold Bloom