Women in "The Great Gatsby" and "No Country for Old Men"

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When F. Scott Fitzgerald famously remarked that "The Great Gatsby" 'contains no important woman character,' he opened the door to a profound exploration of how women are portrayed in literature. In this essay, we will delve into the presentation of women in "The Great Gatsby" by F. Scott Fitzgerald and compare it with the depiction of women in Cormac McCarthy's "No Country for Old Men." Both of these literary works, while different in many aspects, offer insights into the societal roles and significance of women during their respective time periods.

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1. Women in "The Great Gatsby"

At first glance, it may appear that the women in "The Great Gatsby" are relegated to secondary roles, primarily defined by their relationships with male characters. This viewpoint can be seen as consistent with the fact that both texts are written from a male perspective. For instance, F. Kerr argued that Fitzgerald believed women to be emotionally unstable and fundamentally weaker, characterizing the world as a man's domain.

In Fitzgerald's novel, Daisy Buchanan's life seems to revolve entirely around her relationships with men. She is introduced as part of Tom Buchanan's life, with lines like "Dinner with the Tom Buchanans" emphasizing her identity as Tom's wife, rather than an individual with her own agency. This portrayal aligns with the patriarchal society of the 1920s, where women often found themselves subordinated to men.

Fitzgerald employs Daisy, Jordan, and Myrtle as foils to illuminate the personalities of male characters. For example, the phrase "tell 'em all Daisy's changed her mind" underscores Daisy's primary role as an object of Gatsby's desire.

Daisy herself acknowledges her lack of control over her own life when she famously states, "the best thing a girl can be in the world is a beautiful little fool." This sentiment reinforces Fitzgerald's assertion that women of the time often perceived their roles as unimportant and resigned themselves to living in the shadows of men.

The term 'fool' implies a lack of judgment, mirroring Daisy's life as she allows herself to be controlled by Tom Buchanan and easily persuaded into marriage. This choice further highlights Daisy's awareness of her own insignificance as a woman. The adjective 'beautiful' alludes to her initial attraction to Tom, which facilitated her access to a luxurious lifestyle. Similarly, in "No Country for Old Men," Carla Jean finds herself living under the dominance of her assertive husband, Llewelyn, who exerts control over her.

Although Llewelyn lacks the financial means to dominate Carla Jean, he exerts control in other ways. His dismissive response, "What? Quit hollerin'," underscores his dominant behavior and indifference toward her perspective. The verb "hollerin'" carries a commanding and domineering connotation, suggesting that Llewelyn finds his wife irritating and inconsequential.

Fitzgerald reinforces his assertion of female unimportance by giving Jordan a name that is not gender-specific, implying that masculinity is a key determinant of importance. Descriptions of Jordan emphasize her masculine traits, such as how she "wore her evening dress, all her dresses, like sports clothes." This simile suggests that she must emphasize her boyish figure to maintain independence and avoid becoming subservient to male characters.

However, it is worth noting that the novel is set in the aftermath of World War I, a period when women began assuming roles traditionally held by men who were off fighting the war. This contradicts Fitzgerald's statement, as Jordan could represent the evolving, modern woman of the 1920s. The use of the simile "like a young cadet" aligns Jordan with traditionally masculine job roles, such as a trainee in the police force or armed services.

Despite Jordan's apparent independence and self-importance, men in the novel still display apathy toward her, reinforcing her overall irrelevance and insignificance. Similarly, in "No Country for Old Men," Carla Jean is relegated to a position of unimportance, with both Llewelyn and Chigurh consistently referring to her using the pronoun 'she,' rather than addressing her by name.

Ryan P. Doom concurs with Fitzgerald's assertion, suggesting that the women in "No Country for Old Men" serve little purpose beyond providing support. Llewelyn's increasing self-concern, as evidenced by the line "You ain't going to have to come looking for me at all," further supports Doom's claim, as it reveals Llewelyn prioritizing himself over the urgent need to rescue his wife. Thus, the narcissistic Llewelyn contributes to the portrayal of women as unimportant, as he prioritizes his own interests regardless of his wife's fate.

2. Myrtle Wilson: A Character of Contradictions

Myrtle Wilson in "The Great Gatsby" serves as a representative of working-class women in the 1920s who yearn for more than their current circumstances. She naively believes that Tom Buchanan will leave Daisy and whisk her away from the desolate Valley of Ashes, embodying the ideals of the 'American Dream.' Myrtle's character is paradoxical, as exemplified by the oxymoron "soft, coarse voice," which underscores her dual existence as both the "coarse" wife of Mr. Wilson and the "soft" mistress of the upper-class Tom Buchanan.

However, despite her belief that she is Tom's mistress, Myrtle is essentially involved in adultery and subjected to patriarchal control. Tom holds the power and makes authoritative decisions regarding their relationship and when he will see her. When Myrtle openly mocks Daisy in Tom's presence with the repetitive chant of "Daisy, Daisy, Daisy," it triggers Tom's protective instincts. He allows his anger to overpower him and violently strikes Myrtle, breaking her nose with his open hand.

The physical violence perpetrated by Tom against Myrtle serves to emphasize her unimportance in his eyes. Feminist critic Judith Fetterley would argue that Myrtle symbolizes the unattainable 'American Dream,' objectified and powerless due to Tom's control. Her objectification and subjugation reveal the limited opportunities available to women like her in the Valley of Ashes, reaffirming Fitzgerald's assertion that women in the novel lack significance and endure a poor quality of life.

On the other hand, Myrtle momentarily displays some power over her husband when she refers to him as "his wife's man and not his own." This assertion hints at a higher level of authority and importance, albeit briefly. However, her subsequent death nullifies this assertion, rendering her ultimately insignificant in the narrative.

Similarly, in "No Country for Old Men," Carla Jean shares similarities with Myrtle in that both are victims of circumstances beyond their control. Llewelyn's contemptuous tone, as he dismissively states, "Well, I got a good feeling, so that should even out," demonstrates his complete disregard for his wife's perspective and his willingness to seize control of their situation.

Both Myrtle and Carla Jean are powerless in the face of their impending deaths. Myrtle's provocative personality continues to define her until her last moments, with her "left breast swinging loosely like a flap" serving as a metaphorical reminder that her sexuality follows her even in death. The adjective 'loosely' reinforces her fragility and insignificance as a female character. Her physical mutilation, or what some critics argue as 'rape,' further symbolizes her vulnerability and weakness.

This depiction suggests that Fitzgerald may have harbored some disdain or misogynistic views toward women. Similarly, in "No Country for Old Men," Carla Jean watches helplessly as Chigurh flips the coin that will determine her fate, stating, "This is the best I can do. Call it." Her inability to influence the plot underscores her lack of significance, as her life hangs in the balance, determined by the actions of a male character.

3. A Feminist Perspective

From a feminist standpoint, it is important to consider whether the women characters in "The Great Gatsby" are victims of a distorted portrayal due to the male narrators and male protagonists. Fitzgerald himself admitted that it was "a man's book," which could potentially introduce bias in the representation of women within the novel.

Nick, the narrator, can be seen as an unreliable narrator, as he only highlights events he has personally witnessed. This subjectivity could imply that he portrays a biased view of the female characters. His judgment of Jordan as "incurably dishonest" suggests a certain level of disdain and disregard for her perspective.

In contrast, in "No Country for Old Men," Sheriff Bell offers a more respectful representation of female characters. He shows admiration for his wife, Loretta Bell, stating, "she's probably right. She generally is," indicating that he values women and acknowledges their insights. However, when the narrative shifts to a third-person perspective, it reveals traditional 'Western cowboy' attitudes, where women have minor roles and limited opportunities to build important character profiles. This unequal treatment of women may distort their significance within the story, as they are denied the same opportunities for recognition and importance as male characters.

4. Conclusion

In conclusion, the portrayal of women in "The Great Gatsby" and "No Country for Old Men" offers insights into the societal roles and significance of women during their respective time periods. While there are moments in both novels that challenge F. Scott Fitzgerald's assertion that they 'contain no important woman character,' the overall impression remains that women are afforded less importance and influence than men.

Despite exceptions like Jordan Baker, who embodies the modern, independent woman, the predominant male dominance in both narratives relegates women to secondary roles, characterized by their relationships with male characters. This reinforces Fitzgerald's statement and suggests a bias that may be inherent in literature written from a male perspective.

Ultimately, both novels reflect the prevailing gender dynamics of their eras, highlighting the struggles and limitations faced by women during times of significant societal change. While literature has evolved to provide more nuanced and diverse representations of women, these classic works serve as a reminder of the historical context in which they were written and the challenges women have faced in asserting their importance in literature and society.