Painting the Pictures

Abstract This article addresses the concept of exclusion from one’s ideal social realm, as seen in the characters of Jay Gatsby and Pat Hobby. Both characters find themselves obsessed with inclusion in groups in which they are not welcome. Gatsby, belonging to the world of new money, is enamored with joining the world of old wealth. Pat Hobby is a has-been; he once thrived in the world of silent film, but failed to transition to the “talkies.” Both men exist at the edge of a society that considers them outsiders. When presented with the failure to assimilate and be accepted, each engages in creating a façade that he feels can infiltrate his desired sphere. Gatsby hides behind the mystery of his wealth and the sumptuous parties he hosts. Similarly, Hobby can be considered a chameleon; he adapts his personality and purported skills to match any situation with which he is presented. As with Gatsby, however, his façade is compromised both by inner and outer conflicts, ultimately dramatizing Fitzgerald’s belief that our identities are not ours to invent. This article also aims to bring more critical attention to the Hobby stories; often ignored, these tales, when read with sympathy for the much-disparaged protagonist, show Fitzgerald’s creative and structural genius. In placing these stories in dialogue with Fitzgerald’s magnum opus, the comparisons elevate these later efforts by showing that they share with The Great Gatsby an exploration of selfhood and performativity.