By Nghi Vo
Nghi Vo must have had this novel in the chamber ready to go, because it was published mere months after The Great Gatsby left copyright in January 2021. So, to brush off my decades-old literature degree, The Great Gatsby is basically a character study of one man, the titular Jay Gatsby, and the character is also more a metaphor for the corrupting deception of the “American Dream” than an fleshed out person. There’s a lot of room to fill out the lives, thoughts, and feelings of all the characters, and Nghi Vo does that very well.
The narrator is Jordan, the thinnest of the central five characters in the original, so with the most room for creative exploration, and Nghi Vo sure takes advantage of that! She’s now Vietnamese, adopted as an infant by a wealthy white missionary, and now in young adulthood doing her best to ignore anything that makes her stand out from the other bright young things. She is also untrained but agile in the Eastern magic of paper cutting, and this magical element is what really diverges from the source.
It is mostly incidental to the plot but fascinating, and there were several times where I wish the novel had thrown out the source plot entirely to just explore this magical and much more diverse world. On the one hand, the multi-dimensional Jordan, Nick, Daisy, and Tom are more interesting to read about in detail (Gatsby remains a bit of an enigma); on the other hand, those details somewhat undo the pivotal central message and theme of the original.
The very act of adding dimension negates the sense of a flat façade that Fitzgerald created, but Nghi Vo also plays with that idea in interesting, and occasionally very literal ways, as with the magical paper cutting creating animated illusions. I think in the end, I found the book more interesting than enjoyable, and not up to the very high standards of her previous two novellas, which Rebecca reviewed last year, but with all that, I still think it is well worth the read.