In a well fanned Forty-second Street cellar, I met Gatsby for lunch."" (73) In this case, the description of the setting does not seem to have the same type of extraneous description as his depiction of Tom Buchanan's house. Even so, it does serve to set the mood for Wolfshiem's introduction. The setting, Forty-second Street, combines the thriving opulence of Broadway with the seedier connotations of the underworld and Forty-second Street strip-joints etc. Also, we are given the impression of oppressive heat barely escaped by retreating underground (where, we assume, Mr. Wolfshiem spends most of his time). Carraway goes on to say "Blinking away the brightness of the street outside my eyes picked him [Gatsby] out obscurely in the anteroom, talking to another man."" (73) Again, we are given the feeling of retreating from the brightness of New York City, into the dark and veiled underground world within the city of New York.
Along side the more general constant stream of details is a much more specific form of description: color. Fitzgerald's use of color is one of the more striking aspects of the book. It is constant, but at the same time, totally unexpected. There is scarcely a narrative paragraph in the novel which does not have at least one description of color or shade. Moreover, a large number of them seem completely unrelated to the things which they appear to be describing, giving the impression that Nick Carraway is moving through an ever-changing sea of colors, seemingly floating in midair. A striking example of this was a mention of "blue gardens- (43) and "yellow cocktail music-(44) at one of Gatsby's parties. Whether this particular stream of adjectives adds anything to the narrative is dubious, but it is certain that they are a key stylistic factor in Fitzgerald's writing.
In stark contrast to the densely packed details used to establish mood, Fitzgerald's style also involves an almost total lack of description of the main events.
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