Chapter 9
After Gatsby’s body is found, a swarm of police, photographers and newspaper men crowd the mansion; a rope and a guard keep most out, but neighborhood boys slip in to stare at the pool. A detective‑type describes Wilson’s body as that of a “madman.” The inquest, with testimony from Michaelis, portrays George Wilson as “deranged by grief,” while his sister Catherine denies any knowledge of Gatsby, insisting her sister was happy and innocent. Nick becomes the sole point of contact for all inquiries, feeling responsible for Gatsby’s solitary end. He repeatedly tries to summon Meyer Wolfsheim, but receives a terse, non‑committal reply that Wolfsheim is “tied up in some very important business” and cannot come.
A telegram arrives from Minnesota: Henry C. Gatz, Gatsby’s father, has come. He is a frail, tear‑filled old man who clutches a cracked photograph of the house and a dog‑eared copy of Hop‑along Cassidy containing a boy’s old daily schedule. Nick cares for him, offers food, and escorts him to the drawing‑room where Gatsby’s body lies. Gatz insists his son liked “down East” and refuses to have the body taken West.
Nick arranges a modest funeral. The Lutheran minister appears, but no guests turn up. Klipspringer phones, promising to attend but ultimately offers a flimsy excuse about a “pair of shoes.” Nick also contacts Wolfsheim in person; he finds the “Swastika Holding Company” office, meets a hostile secretary, and finally sees Wolfsheim, who refuses to attend, saying he will not “get mixed up” in it.
The funeral procession is tiny: a black hearse, a limousine with Nick, the minister, and Mr Gatz, plus a few servants. It moves through rain to the cemetery. At the graveside Owl‑Eyes, the observant party‑goer from earlier, appears, removes his glasses, and mutters a solemn benediction, lamenting Gatsby’s fate.
Later, Nick encounters Tom Buchanan on Fifth Avenue. Their terse exchange underscores Tom’s callousness and Nick’s lingering resentment; Tom tries to shake hands, but Nick refuses, noting Tom’s justification of his own violent actions.
Nick walks through Gatsby’s empty house, noting the overgrown lawn and the lingering echo of past parties. He erases a vulgar word scrawled on the steps, then goes to the beach, reflecting on the decline of the East, the “orgastic future” of America, and the symbolic green light that once represented hope. He ends with the novel’s famous line: “So we beat on, boats against the current, borne back ceaselessly into the past.”