Fitzgerald 1945, p. 15, "Echoes of the Jazz Age": "Scarcely had the staider citizens of the republic caught their breaths when the wildest of all generations, the generation which had been adolescent during the confusion of the [Great] War, brusquely shouldered my contemporaries out of the way and danced into the limelight. This was the generation whose girls dramatized themselves as flappers." —— (1945). Wilson, Edmund (ed.). The Crack-Up. New York: New Directions. ISBN0-8112-0051-5 – via Internet Archive.
Fitzgerald 1945, pp. 14–15, "Echoes of the Jazz Age": "Unchaperoned young people of the smaller cities had discovered the mobile privacy of that automobile given to young Bill at sixteen to make him 'self-reliant'. At first petting was a desperate adventure even under such favorable conditions, but presently confidences were exchanged and the old commandment broke down". —— (1945). Wilson, Edmund (ed.). The Crack-Up. New York: New Directions. ISBN0-8112-0051-5 – via Internet Archive.
Fitzgerald 1991, p. 9: "His speaking voice, a gruff husky tenor, added to the impression of fractiousness he conveyed. There was a touch of paternal contempt in it, even toward people he liked". —— (1991) [1925]. Bruccoli, Matthew J. (ed.). The Great Gatsby. The Cambridge Edition of the Works of F. Scott Fitzgerald. Cambridge, England: Cambridge University Press. ISBN0-521-40230-1. Archived from the original on November 22, 2021. Retrieved November 21, 2021 – via Internet Archive.
Fitzgerald 1991, p. 88, Chapter 7, opening sentence: "It was when curiosity about Gatsby was at its highest that the lights in his house failed to go on one Saturday night—and, as obscurely as it had begun, his career as Trimalchio was over". —— (1991) [1925]. Bruccoli, Matthew J. (ed.). The Great Gatsby. The Cambridge Edition of the Works of F. Scott Fitzgerald. Cambridge, England: Cambridge University Press. ISBN0-521-40230-1. Archived from the original on November 22, 2021. Retrieved November 21, 2021 – via Internet Archive.
Hemingway 1964, p. 176: "Scott brought his book over. It had a garish dust jacket and I remember being embarrassed by the violence, bad taste, and slippery look of it. It looked like the book jacket for a book of bad science fiction. Scot told me not to be put off by it, that it had to do with a billboard along a highway in Long Island that was important in the story. He said he had liked the jacket and now he didn't like it. I took it off to read the book". Hemingway, Ernest (1964). A Moveable Feast. New York: Scribner. ISBN978-0-684-82499-4 – via Internet Archive.
Turnbull 1962, p. 46: "In those days the contrasts between East and West, between city and country, between prep school and high school were more marked than they are now, and correspondingly the nuances of dress and manners were more noticeable". Turnbull, Andrew (1962). Scott Fitzgerald. New York: Charles Scribner's Sons. LCCN62-9315 – via Internet Archive.
Kruse 2014, pp. 13–14: Biographer Arthur Mizener wrote in a January 1951 letter to Max Gerlach that "Edmund Wilson, the literary critic, told me that Fitzgerald came to his house, apparently from yours [Gerlach's], and told him with great fascination about the life you were leading. Naturally, it fascinated him as all splendor did". Kruse, Horst H. (2014). F. Scott Fitzgerald at Work: The Making of 'The Great Gatsby'. Tuscaloosa, Alabama: University of Alabama Press. ISBN978-0-8173-1839-0. Archived from the original on June 5, 2021. Retrieved June 5, 2021 – via Google Books.
Conor 2004, p. 209: "More than any other type of the Modern Woman, it was the Flapper who embodied the scandal which attached to women's new public visibility, from their increasing street presence to their mechanical reproduction as spectacles". Conor, Liz (June 22, 2004). The Spectacular Modern Woman: Feminine Visibility in the 1920s. Bloomington, Indiana: Indiana University Press. ISBN978-0-253-21670-0. Archived from the original on March 10, 2021. Retrieved March 31, 2016 – via Google Books.
Scribner 1992, pp. 145–146: "Since there were at most a couple of weeks between the commission and Fitzgerald's departure for France, it is likely that what he had seen—and "written into the book"—was one or more of Cugat's preparatory sketches which were probably shown to him at Scribners before he set sail". Scribner, Charles III (Winter 1992). "Celestial Eyes: From Metamorphosis to Masterpiece". Princeton University Library Chronicle (Originally published as a brochure to celebrate the Cambridge Edition of The Great Gatsby). 53 (2). Princeton, New Jersey: Princeton University Library (published October 24, 1991): 140–155. doi:10.2307/26410056. JSTOR26410056.
Scribner 1992, pp. 140–155: "We are left then with the enticing possibility that Fitzgerald's arresting image was originally prompted by Cugat's fantastic apparitions over the valley of ashes; in other words, that the author derived his inventive metamorphosis from a recurrent theme of Cugat's trial jackets, one which the artist himself was to reinterpret and transform through subsequent drafts". Scribner, Charles III (Winter 1992). "Celestial Eyes: From Metamorphosis to Masterpiece". Princeton University Library Chronicle (Originally published as a brochure to celebrate the Cambridge Edition of The Great Gatsby). 53 (2). Princeton, New Jersey: Princeton University Library (published October 24, 1991): 140–155. doi:10.2307/26410056. JSTOR26410056.
Slater 1973, p. 53: "An obsessive concern with ethnic differences has always been a part of American culture, but in some periods this concern has been more intense and explicit than in others. The 1920s, the time of the reborn Ku Klux Klan, immigration restriction legislation, and the pseudo-scientific racism of Madison Grant and Lothrop Stoddard was one of the periods when concern about ethnicity was most evident on the surface of national life". Slater, Peter Gregg (January 1973). "Ethnicity in The Great Gatsby". Twentieth Century Literature. 19 (1). Durham, North Carolina: Duke University Press: 53–62. doi:10.2307/440797. JSTOR440797.
Vogel 2015, pp. 29–30, 33, 38–40, 51: "The Great Gatsby resonates more in the present than it ever did in the Jazz Age", and "the work speaks in strikingly familiar terms to the issues of our time", especially since its "themes are inextricably woven into questions of race, ethnicity, gender, and sexuality". Vogel, Joseph (2015). "'Civilization's Going to Pieces': The Great Gatsby, Identity, and Race, from the Jazz Age to the Obama Era". The F. Scott Fitzgerald Review. 13 (1). University Park, Pennsylvania: Penn State University Press: 29–54. doi:10.5325/fscotfitzrevi.13.1.0029. JSTOR10.5325/fscotfitzrevi.13.1.0029. S2CID170386299.
Kerr 1996, p. 406: "It was in the 1970s that readers first began to address seriously the themes of gender and sexuality in The Great Gatsby; a few critics have pointed out the novel's bizarre homoerotic leitmotif". Kerr, Frances (1996). "Feeling 'Half Feminine': Modernism and the Politics of Emotion in The Great Gatsby". American Literature. 68 (2). Durham, North Carolina: Duke University Press: 405–431. doi:10.2307/2928304. JSTOR2928304.
Vogel 2015, pp. 31, 51: "Among the most significant contributions of The Great Gatsby to the present is its intersectional exploration of identity.... these themes are inextricably woven into questions of race, ethnicity, gender, and sexuality". Vogel, Joseph (2015). "'Civilization's Going to Pieces': The Great Gatsby, Identity, and Race, from the Jazz Age to the Obama Era". The F. Scott Fitzgerald Review. 13 (1). University Park, Pennsylvania: Penn State University Press: 29–54. doi:10.5325/fscotfitzrevi.13.1.0029. JSTOR10.5325/fscotfitzrevi.13.1.0029. S2CID170386299.
Scribner 1992, pp. 145–146: "Since there were at most a couple of weeks between the commission and Fitzgerald's departure for France, it is likely that what he had seen—and "written into the book"—was one or more of Cugat's preparatory sketches which were probably shown to him at Scribners before he set sail". Scribner, Charles III (Winter 1992). "Celestial Eyes: From Metamorphosis to Masterpiece". Princeton University Library Chronicle (Originally published as a brochure to celebrate the Cambridge Edition of The Great Gatsby). 53 (2). Princeton, New Jersey: Princeton University Library (published October 24, 1991): 140–155. doi:10.2307/26410056. JSTOR26410056.
Scribner 1992, pp. 140–155: "We are left then with the enticing possibility that Fitzgerald's arresting image was originally prompted by Cugat's fantastic apparitions over the valley of ashes; in other words, that the author derived his inventive metamorphosis from a recurrent theme of Cugat's trial jackets, one which the artist himself was to reinterpret and transform through subsequent drafts". Scribner, Charles III (Winter 1992). "Celestial Eyes: From Metamorphosis to Masterpiece". Princeton University Library Chronicle (Originally published as a brochure to celebrate the Cambridge Edition of The Great Gatsby). 53 (2). Princeton, New Jersey: Princeton University Library (published October 24, 1991): 140–155. doi:10.2307/26410056. JSTOR26410056.
Bewley 1954, pp. 235, 238: "For Gatsby, Daisy does not exist in herself. She is the green light that signals him into the heart of his ultimate vision... Thus the American dream, whose superstitious valuation of the future began in the past, gives the green light through which alone the American returns to his traditional roots, paradoxically retreating into the pattern of history while endeavoring to exploit the possibilities of the future". Bewley, Marius (Spring 1954). "Scott Fitzgerald's Criticism of America". The Sewanee Review. 62 (2). Baltimore, Maryland: Johns Hopkins University Press: 223–246. JSTOR27538346.
Slater 1973, p. 53: "An obsessive concern with ethnic differences has always been a part of American culture, but in some periods this concern has been more intense and explicit than in others. The 1920s, the time of the reborn Ku Klux Klan, immigration restriction legislation, and the pseudo-scientific racism of Madison Grant and Lothrop Stoddard was one of the periods when concern about ethnicity was most evident on the surface of national life". Slater, Peter Gregg (January 1973). "Ethnicity in The Great Gatsby". Twentieth Century Literature. 19 (1). Durham, North Carolina: Duke University Press: 53–62. doi:10.2307/440797. JSTOR440797.
Vogel 2015, pp. 29–30, 33, 38–40, 51: "The Great Gatsby resonates more in the present than it ever did in the Jazz Age", and "the work speaks in strikingly familiar terms to the issues of our time", especially since its "themes are inextricably woven into questions of race, ethnicity, gender, and sexuality". Vogel, Joseph (2015). "'Civilization's Going to Pieces': The Great Gatsby, Identity, and Race, from the Jazz Age to the Obama Era". The F. Scott Fitzgerald Review. 13 (1). University Park, Pennsylvania: Penn State University Press: 29–54. doi:10.5325/fscotfitzrevi.13.1.0029. JSTOR10.5325/fscotfitzrevi.13.1.0029. S2CID170386299.
Fessenden 2005, p. 28: "Fitzgerald's career records the ambient, dogging pressure to repel charges of his own homosexuality". Fessenden, Tracy (2005). "F. Scott Fitzgerald's Catholic Closet". U.S. Catholic Historian. 23 (3). Washington, D.C.: The Catholic University of America Press: 19–40. JSTOR25154963.
Fessenden 2005, p. 28: "Biographers describe Fay as a 'fin-de-siècle aesthete' of considerable appeal; 'a dandy, always heavily perfumed,' who introduced the teenaged Fitzgerald to Oscar Wilde and good wine". Fessenden, Tracy (2005). "F. Scott Fitzgerald's Catholic Closet". U.S. Catholic Historian. 23 (3). Washington, D.C.: The Catholic University of America Press: 19–40. JSTOR25154963.
Fessenden 2005, p. 31: The novel "includes some queer energies, to be sure—we needn't revisit the more gossipy strains of Fitzgerald biography to note that it's Nick who delivers the sensuous goods on Gatsby from beginning to end". Fessenden, Tracy (2005). "F. Scott Fitzgerald's Catholic Closet". U.S. Catholic Historian. 23 (3). Washington, D.C.: The Catholic University of America Press: 19–40. JSTOR25154963.
Kerr 1996, p. 406: "It was in the 1970s that readers first began to address seriously the themes of gender and sexuality in The Great Gatsby; a few critics have pointed out the novel's bizarre homoerotic leitmotif". Kerr, Frances (1996). "Feeling 'Half Feminine': Modernism and the Politics of Emotion in The Great Gatsby". American Literature. 68 (2). Durham, North Carolina: Duke University Press: 405–431. doi:10.2307/2928304. JSTOR2928304.
Vogel 2015, pp. 31, 51: "Among the most significant contributions of The Great Gatsby to the present is its intersectional exploration of identity.... these themes are inextricably woven into questions of race, ethnicity, gender, and sexuality". Vogel, Joseph (2015). "'Civilization's Going to Pieces': The Great Gatsby, Identity, and Race, from the Jazz Age to the Obama Era". The F. Scott Fitzgerald Review. 13 (1). University Park, Pennsylvania: Penn State University Press: 29–54. doi:10.5325/fscotfitzrevi.13.1.0029. JSTOR10.5325/fscotfitzrevi.13.1.0029. S2CID170386299.
Paulson 1978, p. 329: Commenting upon Nick's sexual confusion, A. B. Paulson remarked in 1978 that "the novel is about identity, about leaving home and venturing into a world of adults, about choosing a profession, about choosing a sexual role to play as well as a partner to love, it is a novel that surely appeals on several deep levels to the problems of adolescent readers". Paulson, A. B. (Fall 1978). "The Great Gatsby: Oral Aggression and Splitting". American Imago. 35 (3). Baltimore, Maryland: Johns Hopkins University Press: 311–330. JSTOR26303279. PMID754550.
Turnbull 1962, p. 46: "In those days the contrasts between East and West, between city and country, between prep school and high school were more marked than they are now, and correspondingly the nuances of dress and manners were more noticeable". Turnbull, Andrew (1962). Scott Fitzgerald. New York: Charles Scribner's Sons. LCCN62-9315 – via Internet Archive.
Mencken 1925, p. 9: "The Great Gatsby is in form no more than a glorified anecdote, and not too probable at that. The story for all its basic triviality has a fine texture; a careful and brilliant finish... What gives the story distinction is something quite different from the management of the action or the handling of the characters; it is the charm and beauty of the writing". Mencken, H. L. (May 2, 1925). "Fitzgerald, The Stylist, Challenges Fitzgerald, The Social Historian". The Evening Sun (Saturday ed.). Baltimore, Maryland. p. 9. Archived from the original on May 9, 2023. Retrieved May 8, 2023 – via Newspapers.com.
Paulson 1978, p. 329: Commenting upon Nick's sexual confusion, A. B. Paulson remarked in 1978 that "the novel is about identity, about leaving home and venturing into a world of adults, about choosing a profession, about choosing a sexual role to play as well as a partner to love, it is a novel that surely appeals on several deep levels to the problems of adolescent readers". Paulson, A. B. (Fall 1978). "The Great Gatsby: Oral Aggression and Splitting". American Imago. 35 (3). Baltimore, Maryland: Johns Hopkins University Press: 311–330. JSTOR26303279. PMID754550.
Lask 1971: The valley of ashes was a landfill in Flushing Meadows, Queens. "In those empty spaces and graying heaps, part of which was known as the Corona Dumps, Fitzgerald found his perfect image for the callous and brutal betrayal of the incurably innocent Gatsby". Flushing Meadows was drained and became the location of the 1939 World's Fair. Lask, Thomas (October 3, 1971). "The Queens That Gatsby Knew". The New York Times. New York. Archived from the original on April 25, 2019. Retrieved May 1, 2021.
Murphy 2010: From Fall 1922 to Spring 1924, Fitzgerald and his wife Zelda resided at 6 Gateway Drive in Great Neck, New York. While reflecting upon the wild parties held during the Jazz Age on "that slender riotous island", Fitzgerald wrote the early story fragments which would become The Great Gatsby. Murphy, Mary Jo (September 30, 2010). "Eyeing the Unreal Estate of Gatsby Esq". The New York Times. New York. Archived from the original on May 7, 2019. Retrieved July 4, 2019.
Fitzgerald's obituary 1940: "The best of his books, the critics said, was The Great Gatsby. When it was published in 1925 this ironic tale of life on Long Island, at a time when gin was the national drink and sex the national obsession, it received critical acclaim. In it, Mr. Fitzgerald was at his best". "Scott Fitzgerald, Author, Dies at 44". The New York Times. New York. December 23, 1940. p. 23. Archived from the original on January 11, 2021. Retrieved December 16, 2020.
Mizener 1960: "Writers like John O'Hara were showing its influence and younger men like Edward Newhouse and Budd Schulberg, who would presently be deeply affected by it, were discovering it". Mizener, Arthur (April 24, 1960). "Gatsby, 35 Years Later". The New York Times. New York. Archived from the original on August 10, 2013. Retrieved July 29, 2013.
Wittels 1945: "Troops showed interest in books about the human mind and books with sexual situations were grabbed up eagerly. One soldier said that books with 'racy' passages were as popular as 'pin-up girls'". Wittels, David G. (June 23, 1945). "What the G.I. Reads". The Saturday Evening Post. Vol. 217, no. 52. Indianapolis, Indiana: Curtis Publishing. pp. 11, 91–92. OCLC26501505. Archived from the original on April 15, 2024. Retrieved January 15, 2022.
Vogel 2015, pp. 29–30, 33, 38–40, 51: "The Great Gatsby resonates more in the present than it ever did in the Jazz Age", and "the work speaks in strikingly familiar terms to the issues of our time", especially since its "themes are inextricably woven into questions of race, ethnicity, gender, and sexuality". Vogel, Joseph (2015). "'Civilization's Going to Pieces': The Great Gatsby, Identity, and Race, from the Jazz Age to the Obama Era". The F. Scott Fitzgerald Review. 13 (1). University Park, Pennsylvania: Penn State University Press: 29–54. doi:10.5325/fscotfitzrevi.13.1.0029. JSTOR10.5325/fscotfitzrevi.13.1.0029. S2CID170386299.
Vogel 2015, pp. 31, 51: "Among the most significant contributions of The Great Gatsby to the present is its intersectional exploration of identity.... these themes are inextricably woven into questions of race, ethnicity, gender, and sexuality". Vogel, Joseph (2015). "'Civilization's Going to Pieces': The Great Gatsby, Identity, and Race, from the Jazz Age to the Obama Era". The F. Scott Fitzgerald Review. 13 (1). University Park, Pennsylvania: Penn State University Press: 29–54. doi:10.5325/fscotfitzrevi.13.1.0029. JSTOR10.5325/fscotfitzrevi.13.1.0029. S2CID170386299.
Lipton 2013: "Fitzgerald, who despised the title The Great Gatsby and toiled for months to think of something else, wrote to Perkins that he had finally found one: Under the Red, White, and Blue. Unfortunately, it was too late to change". Lipton, Gabrielle (May 6, 2013). "Where Is Jay Gatsby's Mansion?". Slate. New York City: The Slate Group, a division of The Washington Post Company. Archived from the original on January 11, 2021. Retrieved May 6, 2013.
Donahue 2013b: "When 'Gatsby' author F. Scott Fitzgerald died in 1940, he thought he was a failure". —— (May 7, 2013b). "The Great Gatsby by the Numbers". USA Today. McLean, Virginia. Archived from the original on August 12, 2017. Retrieved May 12, 2013.
Lask 1971: The valley of ashes was a landfill in Flushing Meadows, Queens. "In those empty spaces and graying heaps, part of which was known as the Corona Dumps, Fitzgerald found his perfect image for the callous and brutal betrayal of the incurably innocent Gatsby". Flushing Meadows was drained and became the location of the 1939 World's Fair. Lask, Thomas (October 3, 1971). "The Queens That Gatsby Knew". The New York Times. New York. Archived from the original on April 25, 2019. Retrieved May 1, 2021.
Fitzgerald 1991, p. 9: "His speaking voice, a gruff husky tenor, added to the impression of fractiousness he conveyed. There was a touch of paternal contempt in it, even toward people he liked". —— (1991) [1925]. Bruccoli, Matthew J. (ed.). The Great Gatsby. The Cambridge Edition of the Works of F. Scott Fitzgerald. Cambridge, England: Cambridge University Press. ISBN0-521-40230-1. Archived from the original on November 22, 2021. Retrieved November 21, 2021 – via Internet Archive.
Murphy 2010: From Fall 1922 to Spring 1924, Fitzgerald and his wife Zelda resided at 6 Gateway Drive in Great Neck, New York. While reflecting upon the wild parties held during the Jazz Age on "that slender riotous island", Fitzgerald wrote the early story fragments which would become The Great Gatsby. Murphy, Mary Jo (September 30, 2010). "Eyeing the Unreal Estate of Gatsby Esq". The New York Times. New York. Archived from the original on May 7, 2019. Retrieved July 4, 2019.
Kruse 2014, pp. 13–14: Biographer Arthur Mizener wrote in a January 1951 letter to Max Gerlach that "Edmund Wilson, the literary critic, told me that Fitzgerald came to his house, apparently from yours [Gerlach's], and told him with great fascination about the life you were leading. Naturally, it fascinated him as all splendor did". Kruse, Horst H. (2014). F. Scott Fitzgerald at Work: The Making of 'The Great Gatsby'. Tuscaloosa, Alabama: University of Alabama Press. ISBN978-0-8173-1839-0. Archived from the original on June 5, 2021. Retrieved June 5, 2021 – via Google Books.
Fitzgerald 1991, p. 88, Chapter 7, opening sentence: "It was when curiosity about Gatsby was at its highest that the lights in his house failed to go on one Saturday night—and, as obscurely as it had begun, his career as Trimalchio was over". —— (1991) [1925]. Bruccoli, Matthew J. (ed.). The Great Gatsby. The Cambridge Edition of the Works of F. Scott Fitzgerald. Cambridge, England: Cambridge University Press. ISBN0-521-40230-1. Archived from the original on November 22, 2021. Retrieved November 21, 2021 – via Internet Archive.
Lipton 2013: "Fitzgerald, who despised the title The Great Gatsby and toiled for months to think of something else, wrote to Perkins that he had finally found one: Under the Red, White, and Blue. Unfortunately, it was too late to change". Lipton, Gabrielle (May 6, 2013). "Where Is Jay Gatsby's Mansion?". Slate. New York City: The Slate Group, a division of The Washington Post Company. Archived from the original on January 11, 2021. Retrieved May 6, 2013.
Mencken 1925, p. 9: "The Great Gatsby is in form no more than a glorified anecdote, and not too probable at that. The story for all its basic triviality has a fine texture; a careful and brilliant finish... What gives the story distinction is something quite different from the management of the action or the handling of the characters; it is the charm and beauty of the writing". Mencken, H. L. (May 2, 1925). "Fitzgerald, The Stylist, Challenges Fitzgerald, The Social Historian". The Evening Sun (Saturday ed.). Baltimore, Maryland. p. 9. Archived from the original on May 9, 2023. Retrieved May 8, 2023 – via Newspapers.com.
Donahue 2013b: "When 'Gatsby' author F. Scott Fitzgerald died in 1940, he thought he was a failure". —— (May 7, 2013b). "The Great Gatsby by the Numbers". USA Today. McLean, Virginia. Archived from the original on August 12, 2017. Retrieved May 12, 2013.
Fitzgerald's obituary 1940: "The best of his books, the critics said, was The Great Gatsby. When it was published in 1925 this ironic tale of life on Long Island, at a time when gin was the national drink and sex the national obsession, it received critical acclaim. In it, Mr. Fitzgerald was at his best". "Scott Fitzgerald, Author, Dies at 44". The New York Times. New York. December 23, 1940. p. 23. Archived from the original on January 11, 2021. Retrieved December 16, 2020.
Mizener 1960: "Writers like John O'Hara were showing its influence and younger men like Edward Newhouse and Budd Schulberg, who would presently be deeply affected by it, were discovering it". Mizener, Arthur (April 24, 1960). "Gatsby, 35 Years Later". The New York Times. New York. Archived from the original on August 10, 2013. Retrieved July 29, 2013.
Wittels 1945: "Troops showed interest in books about the human mind and books with sexual situations were grabbed up eagerly. One soldier said that books with 'racy' passages were as popular as 'pin-up girls'". Wittels, David G. (June 23, 1945). "What the G.I. Reads". The Saturday Evening Post. Vol. 217, no. 52. Indianapolis, Indiana: Curtis Publishing. pp. 11, 91–92. OCLC26501505. Archived from the original on April 15, 2024. Retrieved January 15, 2022.
Conor 2004, p. 209: "More than any other type of the Modern Woman, it was the Flapper who embodied the scandal which attached to women's new public visibility, from their increasing street presence to their mechanical reproduction as spectacles". Conor, Liz (June 22, 2004). The Spectacular Modern Woman: Feminine Visibility in the 1920s. Bloomington, Indiana: Indiana University Press. ISBN978-0-253-21670-0. Archived from the original on March 10, 2021. Retrieved March 31, 2016 – via Google Books.
Wittels 1945: "Troops showed interest in books about the human mind and books with sexual situations were grabbed up eagerly. One soldier said that books with 'racy' passages were as popular as 'pin-up girls'". Wittels, David G. (June 23, 1945). "What the G.I. Reads". The Saturday Evening Post. Vol. 217, no. 52. Indianapolis, Indiana: Curtis Publishing. pp. 11, 91–92. OCLC26501505. Archived from the original on April 15, 2024. Retrieved January 15, 2022.
