Daisy Buchanan Quotes

I don’t know where you got the idea that the quality of a novel should be judged by the likability of its characters, but let me submit to you that Daisy Buchanan doesn’t have to be likable to be interesting… That’s the pleasure and challenge of reading great novels. You get to see yourself as others see you, and you get to see others as they see themselves.

If Daisy Buchanan's laugh is the sound of money, then a gimlet, well executed, is the color of it. It is just the thing when you are feeling impoverished, financially or spiritually.

We should all seek to surround ourselves with people whom we choose, who choose us back, and make us feel ten times taller than we actually are.

We can't future-proof love. When we're with someone, we're vulnerable. Love is dangerous, and there's no way of doing it safely. There is no condom for the heart. But we can protect ourselves with self love, and the knowledge that we don't need anyone to complete u. We can't be with anyone who makes us feel as though we're not enough on our own.

They saw me. Milton's smile curled off his face like unsticky tape. And I knew immediately, I was a boy band, a boondoggle, born fool. He was going to pull a Danny Zuko in Grease when Sandy says hello to him in front of the T-Birds, a Mrs. Robinson when she tells Elaine she didn't seduce Benjamin, a Daisy when she chooses Tom with the disposition of a sour kiwi over Gatsby, a self-made man, a man engorged with dreams, who didn't mind throwing a pile of shirts around a room if he wanted too. My heart landslided. My legs earthquaked.

What would happen if I let myself dream, instead of simply trying to stay out of trouble?

What'll we do with ourselves this afternoon?' cried Daisy, 'and the day after that, and the next thirty years?' 'Don't be morbid,' Jordan said. 'Life starts all over again when it gets crisp in the fall.

...we often imagined, as we drove, a fictional universe in which Fitzgerald's and Wodehouse's creations might visit one another. Bertie Wooster and Jeeves might have intruded on the rarefied world of the Eggs, silly-ass Bertie stepping into sensible Nick Carraway's shoes, and Reginald Jeeves the fish-eating Spinoza-loving gentleman's gentleman and genius finding a way to give Jay Gatsby the happy-ever-after ending with Daisy Buchanan for which he so profoundly longed.

She had told him that she loved him, and Tom Buchanan saw. He was astounded. His mouth opened a little, and he looked at Gatsby, and then back at Daisy as if he had just recognized her as someone he knew a long time ago.

Lots of talk lately about the GREAT AMERICAN NOVEL that seems to be exclusively masculine. And how many of the characters in the GENIUS BOOKS are likable? Is Holden Caulfield likable? Is Meursault in The Stranger? Is Henry Miller? Is any character in any of these system novels particularly likable? Aren’t they usually loathsome but human, etc., loathsome and neurotic and obsessed? In my memory, all the characters in Jonathan Franzen are total douchebags (I know, I know, I’m not supposed to use that, feminine imagery, whatever, but it is SO satisfying to say and think). How about female characters in the genius books? Was Madame Bovary likable? Was Anna Karenina? Is Daisy Buchanan likable? Is Daisy Miller? Is it the specific way in which supposed readers HATE unlikable female characters (who are too depressed, too crazy, too vain, too self-involved, too bored, too boring), that mirrors the specific way in which people HATE unlikable girls and women for the same qualities? We do not allow, really, the notion of the antiheroine, as penned by women, because we confuse the autobiographical, and we pass judgment on the female author for her terrible self-involved and indulgent life. We do not hate Scott Fitzgerald in “The Crack-Up” or Georges Bataille in Guilty for being drunken and totally wading in their own pathos, but Jean Rhys is too much of a victim.

I spent a great deal of my youth fantasizing about entertaining. In my early twenties I would spend hours poring over cookbooks at the Seventh Avenue Barnes & Noble in Park Slope, planning elaborate parties that I would throw when I was older and had money. Now I am older and have money, but I almost never entertain. I have yet to throw my Great Gatsby–themed Super Bowl viewing party, but when I do, it will be a big hit, as will be my Daisy Buchanan slow-cooker chicken enchiladas.

(...) I'm my very best self when I'm with him, but every day, I want him more than I need him. He taught me that love is patient, love is kind, love is calm and quiet. It's not a music video of big hair, big tears and erotic, electrical storms. It's two people pottering about a small flat making each other coffee. It's waking up every morning and feeling quietly delighted as you smell the sleep on his skin and observe the the way his tufty hair is framed by the pillow. It's sly hands sneaking up jumpers to stroke the silky skin underneath and wanting to share all your big news, bad news and pictures of especially adorable dogs. It's knowing that there's nothing that can't be talked over and solved by a walk to the park or a trip to the pub.

Every nation can be summed up by a single book or play, or by a particular author. America is perhaps perfectly encapsulated by F. Scott Fitzgerald’s The Great Gatsby. The Great Gatsby is a book about luxury, enchantment, glamour, magic spells, aspiration, a vulgar Wonderland, insecurity, pretentiousness, bluffing, soullessness, fakes, phonies, emptiness, desperation, regrets, and impossible dreams. “Her voice is full of money,” says the narrator about the beguiling muse Daisy Buchanan. Could this not serve as the epitaph for the American Dream itself as it is finally laid to rest?

Who wants to go to town?” demanded Daisy insistently. Gatsby’s eyes floated toward her. “Ah,” she cried, “you look so cool.” Their eyes met, and they stared together at each other, alone in space. With an effort she glanced down at the table. “You always look so cool,” she repeated. She had told him that she loved him, and Tom Buchanan saw.

Who wants to go to town?” demanded Daisy insistently. Gatsby’s eyes floated toward her. “Ah,” she cried, “you look so cool.” Their eyes met, and they stared together at each other, alone in space. With an effort she glanced down at the table. “You always look so cool,” she repeated. She had told him that she loved him, and Tom Buchanan saw.

He came back from France when Tom and Daisy were still on their wedding trip, and made a miserable but irresistible journey to Louisville on the last of his army pay. He stayed there a week, walking the streets where their footsteps had clicked together through the November night and revisiting the out-of-the-way places to which they had driven in her white car. Just as Daisy's house had always seemed to him more mysterious and gay than other houses so his idea of the city itself, even though she was gone from it, was pervaded with a melancholy beauty. He left feeling that if he had searched harder he might have found her—that he was leaving her behind. The day-coach—he was penniless now—was hot. He went out to the open vestibule and sat down on a folding-chair, and the station slid away and the backs of unfamiliar buildings moved by. Then out into the spring fields, where a yellow trolley raced them for a minute with people in it who might once have seen the pale magic of her face along the casual street. The track curved and now it was going away from the sun which, as it sank lower, seemed to spread itself in benediction over the vanishing city where she had drawn her breath. He stretched out his hand desperately as if to snatch only a wisp of air, to save a fragment of the spot that she had made lovely for him. But it was all going by too fast now for his blurred eyes and he knew that he had lost that part of it, the freshest and the best, forever.

The best thing about falling in love with a book is that your relationship with it is separate and unique, but when someone else loves it too, you’re not envious and jealous of their love - you only love each other more

I’ve known you for years, Banks. You can call me Daisy—not Duck, not Duke, and definitely not Buchanan. I’m a Meadows.

I think of being a woman weeping, and of hearing women weeping, sometimes over a sandwich, sometimes in the street, and usually outside offices, behind cubicle doors. As secretly and silently as we are able. Because we’re just not good enough. Because we’re only ever one mistake away from catastrophe and collapse. Because we have too many feelings, and too many ways to fail.

I don’t run because it makes me thinner or hotter. I run because it means that for at least half an hour of the day I’m not worrying about weight loss – I’m busy counting leaf shapes, different shades of green in the trees, and trying to identify bird song.

She is, by all accounts, a more qualified adulteress—the Myrtle Wilson to Brooke’s Daisy Buchanan. Unsuspecting roadkill.

Several conversations I’ve had with my friends about marriage could have taken place in the eighteenth century. The smartest, sanest women I know have conversations about how and when their partners might propose, as if they are rare and temperamental pheasants whose boyfriends may or may not choose to present them with an engagement ring egg.

Objectively, I know that I’m an adult, and I now have a husband, a healthy credit score and a couple of nice handbags, and all the trappings that, if I were a lady in a book, would convince even the casual reader that I’m real – but I still worry that I’m really Tom Hanks in Big, and one day I’ll wake up, brush my teeth and see a child reflected back at me in the bathroom mirror.

And as you get older, you start to believe that just being is enough, and you don’t have to wait to become perfect for your life to start.

Growing up is simply a matter of getting to know yourself, and accepting that if you think you’re in the throes of a life crisis, the worst thing you can do is Google it.