F. Scott Fitzgerald, "The Great Gatsby"

            In “The Great Gatsby,” the character of Myrtle Wilson presents a social commentary on the distinctions between the rich and the poor, parallel to the findings of Thorstein Veblen in “The Theory of the Leisure Class.” Myrtle acts as a liminal figure, able to flow in and out of wealth by the means of Tom. In effect, she leads two lives intrinsically tied to two differing social classes; with George in the Valley of Ashes, she suffers from poverty and acts according to the norms characteristic of the working class, but with Tom in New York, Myrtle dons a façade to feign a place within the culture of the upper-class.

            Veblen’s ideas of leisure and conspicuous consumption are particularly evident through Myrtle’s actions and her sense of what one must do to live like the wealthy. In relief to her situation at the garage, Myrtle’s behavior in New York provides a stark contrast and highlights the features of affluent lifestyles.

            When the reader is first introduced to Myrtle, in the setting of George Wilson’s garage, she is described as a “thickish figure” (25). Her appearance is plain and dull, containing “no facet or gleam of beauty” (25). Her second appearance, the beginning of her shift into the social class to which Tom belongs, is marked by a specific change: clothing. Appearance, here, is the first signal of social class and, in an effort to perform the role of the wealthy, Myrtle has altered her dress.

            In New York, Myrtle begins buying certain items, preparing for her new place within the social strata. At the news-stand Myrtle “bought a copy of Town Tattle and a moving-picture magazine” (27), which is indicative of high social status because of their unproductive nature and suggestion of leisure. Gossip and magazines do not contribute to any sort of labor or productivity, and are simply intended for the comfort and entertainment of the reader. At the drug-store, Myrtle bought “cold cream and a small flask of perfume” (27), again demonstrating the importance of appearance, of projecting certain values and tastes.

            Myrtle also partakes in the leisure class behavior of conspicuous consumption when she decides to buy a dog. As she speaks to Tom in the taxi, her justification for getting the dog is simply, “’I want to get one for the apartment. They’re nice to have—a dog’” (27). The pet serves no intended purpose other than display, for Tom must pour money into keeping it. When George later finds the “small, expensive dog-leash, made of leather and braided silver… apparently new” (158), the use of the dog to exhibit and flaunt wealth is apparent.

            The character of Myrtle Wilson underlines the behavioral aspects of the leisure class as she attempts to assimilate to upper-class culture. With her low class position, she feels pressure to assimilate and respond to the demand of performing wealth. This liminality between lower- and upper-class positions allows the reader a critical view of the distinguishing factors in behavior, appearance, productivity, and façades of both.