For all the Klan’s divisiveness, its extension across the country also worked perversely to reconcile North and South just as The Birth of a Nation imagined, as ‘Anglo-Saxons’ united against perceived threats from groups they sought to subordinate; the election of the Southern segregationist Wilson functioned in the same way, helping to reunite the nation in the wake of Reconstruction.

The symbol of the ‘one per cent’ that so dominates discussions of economic inequality today comes, like the American dream it accompanies, from a century ago. The difference is that a hundred years ago many people considered billionaires un-American.

By 1940 ‘America first’ had been entangled in America’s political narrative for decades. Charles Lindbergh and the America First Committee of 1940 were not the beginning of the story of ‘America first’. They were the end–until Donald Trump resuscitated the term.

Democratic equality and economic opportunity are not the same thing, but the American dream has, for decades, been used as if they are.

Detail tends to be the first casualty of reproduction.

Years later Fitzgerald inscribed a copy of Gatsby with what he perceived at the time to be its failings: “Gatsby was never quite real to me. His original served for a good enough exterior until about the middle of the book he grew thin and I began to fill him with my own emotional life. So he’s synthetic – and that’s one of the flaws of the book.

America was invented out of a desire for rebirth, for fresh starts. It was the place where a man could be the author of himself, reinventing himself as an aristocrat, but somehow these stories of renaissance kept ending in murder.

The loss of cultural memory is a kind of death, for culture is sustained by memory. We do not have to accept others’ narrow understanding of our meanings.

The artist, wrote Joseph Conrad, “speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives.” That was the art that Scott Fitzgerald would find, reminding us that a mirage may be more marvelous in its way than an oasis in the desert. Gatsby’s great error is his belief in the reality of the mirage; Fitzgerald’s great gift was his belief in the mirage as a mirage. “Splendor,” Fitzgerald came to understand, “was something in the heart.

Art cannot, perhaps, impose order on life—but it teaches us to admire even the unruliest of revelations.