It has been a century since the publication of F. Scott Fitzgerald’s seminal classic “The Great Gatsby.” Since then, it has become a staple in classrooms around the United States, a definitive member of the “literary canon.” 

However, the existence of a “canon” is not without controversy. Whether it be the preeminence of “dead white men” like Fitzgerald, the over-emphasis on Western authors or the rise of book bans and anti-intellectualism, critics of the canon reach across political aisles. 

Still, consuming classic literature, including novels within the “canon,” should be encouraged not just because of how they reflect the past, but also how they reflect the present. 

Defenses of the literary canon are typically circular: one should read Shakespeare because he’s important and he’s important because people read him. Or they are based on this idea of timespan: You read Shakespeare because we’ve always read Shakespeare. Or that there is a qualitative difference between canonized classic literature and modern literature. Rather than these routes, classic literature should be justified from a historical standpoint — a gateway to the past, helping us understand the present.  

Classic literature “[captures] something historically for us, and then it allows us, through time, to have conversations with these particular texts,” said English instructor Steven Minas. As Shakespeare puts it in “Hamlet,” storytelling holds “the mirror up to nature.” 

These conversations are crucial to understanding the importance of reading the classics, as they demonstrate how classics serve as a historical capsule of the rules, conventions and anxieties of a particular era. 

For example, Jane Austen’s work offers regency era stories, such as “Pride and Prejudice” or “Emma,” that depict the manners and misunderstandings that arise when gender expectations surrounding marriage and family prevail. Meanwhile, “The Great Gatsby” provides us with an analysis of perception, racism, gender and class from the Jazz Age, combined with anxiety about attaining the American Dream. 

Reading these books is important because one can revise one’s understanding of history by encountering a narrativized version of it. Doing so provides insight into how artists responded to their environment during tumultuous historical periods. 

“[Literary classics] are important documents of [history], documents of experience that happen to be artistic and provide not necessarily answers but allow us to kind of explore questions and possibilities,” Minas said.

At risk of sounding like a trying-to-be-cool English teacher, classic literature can help us understand our present realities. 

Although not widely read in schools, Sinclair Lewis’ 1935 dystopian novel, “It Can’t Happen Here,” remains incredibly prescient for the current political landscape of the U.S. The novel follows a populist who rises to power to become the U.S.’ first dictator. The title comes from a common belief within the novel that our democracy was too strong and thus authoritarianism could not happen here in the U.S. 

Currently, long-standing democratic institutions are being compromised by the administration, serving as a stark reminder of the fragility of democracy, a concept underscored in this novel from 90 years ago. 

One character in the novel even expresses a fondness for fascism, stating, “And [fascism] might not be so bad, with all the lazy bums we got panhandling relief nowadays, and living on my income tax and yours — not so worse to have a real Strong Man … and have ‘em really run the country and make it efficient and prosperous again.” However, the novel concludes on a hopeful note, showcasing the enduring power of the human spirit even in the most devastating times. 

“That’s why I think dystopia and utopia, the earlier versions, are so popular because we can kind of enter these spaces that are so unfamiliar, yet they seem to comment and be part of our world today,” Minas said.

The existence of a literary canon does not make these works beyond reproach. Critique and reinvention of these stories help breathe new life into dated material. 

For instance, Professor Percival Everett’s 2024 National Book Award-winning novel, “James,” is a loose reimagining of “The Adventures of Huckleberry Finn” by Mark Twain from the perspective of the enslaved character Jim. Meanwhile, Ian Smith’s work, “Black Shakespeare,” interrogates scholarship, or rather the lack thereof, surrounding race in Shakespeare’s work, especially as it pertains to the early modern period. 

There are also other reimaginings like Jean Rhys’ “Wide Sargasso Sea,” which provides a counter-narrative to the antiquated depiction of the “madwoman in the attic” from “Jane Eyre,” and even fanfiction reinvents classic literature. Such instances of supplementary storytelling help to diversify the teaching of the canon, expanding it beyond the pervasiveness of old white men. 

This is necessary because it demonstrates how authors and characters from diverse backgrounds can connect through the written word, as well as providing a more representative portrayal of the human experience across various cultures.

The literary canon and classic literature, by extension, provide us with common reference points to discuss current events. Since these texts are so ingrained into our culture, they provide a universal way to converse about common issues. Reading “The Great Gatsby” and other literature of its kind allows us to examine the potent themes of these works and connect them to our modern struggles. To quote Fitzgerald, “Can’t repeat the past? … Why, of course you can!”