Something in her tone reminded me of the other girl’s “I think he killed a man,” and had the effect of stimulating my curiosity. I would have accepted without question the information that Gatsby sprang from the swamps of Louisiana or from the lower East Side of New York. That was comprehensible. But young men didn’t—at least in my provincial inexperience I believed they didn’t—drift coolly out of nowhere and buy a palace on Long Island Sound.
“Anyhow, he gives large parties,” said Jordan, changing the subject with an urban distaste for the concrete. “And I like large parties. They’re so intimate. At small parties there isn’t any privacy.”
There was the boom of a bass drum, and the voice of the orchestra leader rang out suddenly above the chatter of the garden.
“Ladies and gentlemen,” he cried. “At the request of Mr. Gatsby we are going to play for you Mr. Vladmir Tostoff’s latest work, which attracted so much attention at Carnegie Hall last May. If you read the papers you know there was a big sensation.” He smiled with jovial condescension, and added: “Some sensation!” Whereupon everybody laughed.
“The piece is known,” he concluded lustily, “as ‘Vladmir Tostoff’s Jazz History of the World.’”
The nature of Mr. Tostoff’s composition eluded me, because just as it began my eyes fell on Gatsby, standing alone on the marble steps and looking from
