Site Loader
Rock Street, San Francisco

J.D. Salinger Essay, Research Paper

A repeating subject in J. D. Salinger & # 8217 ; s narratives concerns people who don & # 8217 ; t tantrum in with the traditional American civilization. Salinger & # 8217 ; s most successful narratives are of those who can non set to the existent universe. His chief characters are super-intelligent worlds who must take between the bogus existent universe ( American civilization ) and a morally pure, & # 8220 ; nice & # 8221 ; universe. Salinger & # 8217 ; s & # 8220 ; misfit hero [ es ] & # 8221 ; ( Levine 498 ) , unlike the remainder of society, are caught in the battle between a superficial universe and a witting morality. In the wake of World War II, America was despairing for a homogeneous society. Different was decidedly non better. & # 8220 ; The 50s were a period of supreme disenchantment & # 8221 ; ( Fifties 514 ) . Those who did non suit the cast were shunned, treated as outcast in the land of chance. & # 8220 ; The 50s were a period of supreme disenchantment & # 8221 ; -Warren French In & # 8220 ; A Perfect Day for Bananafish, & # 8221 ; Seymour Glass and his new married woman Muriel are holidaying at a classy Florida hotel. Salinger uses a telephone conversation between Muriel and her female parent to supply background information Seymour, who has caused uncomfortableness to a great figure of people ( Salinger 81 ) . Seymour drives his father-in-law & # 8217 ; s auto into a tree and accuses other invitees at the hotel of gazing at a nonexistent tattoo on his dorsum. Muriel brushes these incidents off ; she seems amused by Seymour & # 8217 ; s actions. Muriel is the one individual who remain unagitated in the thick of Seymour & # 8217 ; s jokes, answering to her disquieted female parent & # 8220 ; You know Seymour & # 8221 ; ( Nine 10 ) . Society sees Seymour as a infantile grownup, traveling to extremes to acquire attending ( Salinger 82 ) . He prefers the universe of kids ( nice ) to that of grownups ( hypocrite ) . As the Matron of Honor in Raise High the Roof beam, Carpenters bluffly puts it & # 8220 ; & # 8230 ; you lead an perfectly capricious life like that when you & # 8217 ; re a child, and so of course you ne’er learn to turn up. You ne’er learn to associate to normal people or anything & # 8221 ; ( 59 ) . The Matron of Honor and Muriel & # 8217 ; s female parent, both every bit intolerant of people who are different, stand for the existent universe. Like the remainder of Salinger & # 8217 ; s Nonconformists, Seymour sees kids as inexperienced person and genuinely good ( Heiserman 496 ) . Seymour & # 8217 ; s realisation that he is non and can ne’er be a true guru of Buddhism leads to his self-destruction. By acquiring married, he can non exceed the enticements of flesh, and is hence unable to be considered a existent guru. Seymour & # 8217 ; s state of affairs mirrors Salinger & # 8217 ; s contemn for those who engage in prenuptial sex ( Salinger 58 ) . He would non even let his characters to make more than buss, a rareness in his epoch. Seymour is interested in the company of four-year old Sybil Carpenter, a kid he believes he can salvage from going a & # 8220 ; phony & # 8221 ; ( Catcher 127 ) . While swimming with the immature miss, Seymour tells a narrative of fish that swim into holes filled with bananas. These bananafish so gorge themselves on the fruit and, excessively fat to swim out of the holes, dice of banana febrility. Some critics misinterpret the writer & # 8217 ; s purpose in introducing Sybil and the reader with bananafish. Seymour is non a bananafish ; it is the hypocrites of the universe who are guilty of gorging themselves with nonmeaningful material objects until they become so superficial they are beyond hope of of all time achieving religious pureness ( Fifties 515 ) . These people are knowing bananafishes. They are besides the dwellers of the bogus world.Seymour, on the other manus, has temporarily lost sight of his faith and is tricked into going a & # 8220 ; glutton & # 8230 ; [ with an ] insatiate appetency & # 8230 ; for attending & # 8221 ; ( Salinger 84 ) . Even though Seymour knows he is beyond redemption, he still believes he can deliver Sybil. When she admits she saw a bananafish with six bananas in its oral cavity, Seymour realizes that she is already on the way toward going a superficial bananafish. In a few old ages Sybil will be like her female parent, interested merely in how another adult female has her scarf tied. Three of Salinger & # 8217 ; s short narratives, & # 8220 ; Down at the Dinghy, & # 8221 ; & # 8220 ; For Esme -with Love and Squalor, & # 8221 ; and & # 8220 ; Franny and Zooey, & # 8221 ; written in the center of his calling, are merchandises of Salinger & # 8217 ; s belief that those unfortunate psyches who aren & # 8217 ; t & # 8220 ; visionaries & # 8221 ; could larn to populate in this barren without going contaminated by the moral decay common in our society ( Dictionary 436 ) . Salinger still thought, like Seymour, that society could be saved, if lone it could see that there is more to people than their visual aspect. In & # 8220 ; Down at the Dinghy, & # 8221 ; Seymour & # 8217 ; s sister Boo-Boo coerces her immature boy Lionel to accept the world of imperfectness in the existent universe alternatively of allowing him withdraw inside himself ( Dictionary 438 ) . Lionel, at an early age, refuses to compromise between corrupt world and pure spiritualty. Alternatively, he has chosen to copy the determination of many misfit heroes and fell in privateness ( Levine 499 ) . In Franny and Zooey, the youngest Glass kid Franny has a nervous dislocation. Influenced by Seymour & # 8217 ; s involvement in eastern doctrine, she is frustrated with the superficial universe around her. In the 2nd half of the book, Zooey explains to his younger sister Franny that they and the remainder of the Glass household are the job, non the remainder of the universe. They are different because they & # 8217 ; re two oldest brothers, Seymour and Buddy sacredly enlightened them: & # 8220 ; We & # 8217 ; rhenium monsters, that & # 8217 ; s all. Those two assholes got us early and made us into monsters with capricious criterions, that & # 8217 ; s all. We & # 8217 ; re the Tattooed Lady, and we & # 8217 ; re ne’er traveling to hold a minute & # 8217 ; s peace, the remainder of our lives, till everybody else is tattooed, excessively & # 8221 ; ( Franny 139 ) . As Zooey says, & # 8220 ; the lone thing that counts in the spiritual life is detachment & # 8221 ; ( Franny 198 ) . The Chief in & # 8220 ; The Laughing Man & # 8221 ; has the same undertaking as Boo-Boo ; he must coerce the kids to confront the rough worlds of life. By stoping the life of the male child & # 8217 ; s hero, the Laughing Man, the Chief pulls them out of a fantasy universe, which he has learned, can merely stop distressingly. Although they are hurt at foremost, he knows the hurting will non last. & # 8220 ; The Laughing Man & # 8221 ; is placed before & # 8220 ; Down at the Dinghy & # 8221 ; in Nine Stories because Boo-Boo has progressed further than the Chief. While Boo-Boo helps her boy for his ain interest, the Chief suddenly jars the male childs into world after a adult female breaks his bosom ( Dictionary 438 ) . & # 8220 ; De Daumier-Smith & # 8217 ; s Blu

vitamin E Period” is the lone Salinger narrative in which a character really achieves enlightenment. De Daumier-Smith leaps from the lowest cavity of desperation to light. He is blinded by the blaze of the Sun off a shop window “at the rate of 93 billion stat mis a second” ( Nine 164 ) . Unfortunately for him, he is non ready

To do the concluding spring and returns to his bogus universe and the all-American avocation of miss observation ( Dictionary 438 ) . & # 8220 ; Teddy, & # 8221 ; the last narrative in the aggregation, shows the province of head of a individual who is ready to go forth this universe buttocks. Teddy is emotionless, non portion of our universe, and can accept his journey to the following degree ( Dictionary 439 ) . Teddy is a true guru ; person Salinger wishes members of our society could accept and endeavor to be like. Teddy & # 8217 ; s last embodiment, nevertheless, is much like that of Seymour ( Dictionary 437 ) in that he & # 8220 ; met a lady, and & # 8230 ; kind of stopped chew overing & # 8221 ; ( Nine 188 ) . & # 8220 ; Uncle Wiggily in Connecticut & # 8221 ; is another narrative of the & # 8220 ; nice versus hypocrite universe & # 8221 ; ( Salinger 38 ) . The decease of Eloise & # 8217 ; s fellow, Walt Glass, due to a deficiency of cautiousness, shows the universe & # 8217 ; s indifference to adult male & # 8217 ; s definition of good and evil ( Salinger 42 ) . & # 8220 ; Things go incorrect because people do non take the problem to make them compensate & # 8221 ; ( Salinger 42 ) . Eloise & # 8217 ; s girl Ramona, like Raymond Ford of & # 8220 ; The Inverted Forest, & # 8221 ; shows that intelligent and originative people are normally handicapped in one manner or another. Attractive imbeciles do good in this superficial universe while the ugly masterminds are brushed aside and forced to retreat into themselves ( Salinger 43 ) . One of Salinger & # 8217 ; s most celebrated Nonconformists, Holden Caulfield in The Catcher in the Rye, is balanced on the & # 8220 ; brainsick drop & # 8221 ; of adolescence. He is in the center of childhood, which means good, artlessness, and love ; and maturity, which equals phoniness and a universe devoid of love ( Heiserman 497 ) . Holden tries to hang onto his childhood for every bit long as possible, but finally chooses the & # 8220 ; existent & # 8221 ; universe ( Dictionary 436 ) . Salinger & # 8217 ; s teenage supporter realizes that he must go responsible and fit into society ( Wiener 21 ) . Holden & # 8217 ; s dream of going a anchorite in a small cabin in the West foreshadows Salinger & # 8217 ; s abode in New England ( Dictionary 436 ) . Yet his dream besides symbolizes the old American dream of westbound enlargement and a new life. The solitariness which normally ensues after traveling to a farm in the Great Plains, nevertheless, hits Holden while still in New York City ( Wiener 24 ) . The Catcher in the Rye is another Salinger narrative covering with the aversion of society towards adolescent crises. As Gary A. Wiener points out, the narrative takes topographic point in & # 8220 ; December ( a perfect symbol for the unfeelingness and coldness of society in general ) & # 8221 ; ( n. pag. ) .One of the jobs posed for a unconformist creative person is whether he should be a sellout and delight the populace for easy money or base on balls it up and work for his ain interest ( Salinger 57 ) . This is the chief issue in & # 8220 ; The Varioni Brothers, & # 8221 ; the narrative in which the misfit hero foremost appeared ( Levine 498 ) . This was besides a job for Holden & # 8217 ; s older brother D.B. , who & # 8220 ; used to be merely a regular author & # 8221 ; ( Catcher 1 ) , but is now & # 8220 ; out in Hollywood, D.B. , being a cocotte & # 8221 ; ( Catcher 2 ) . Writing is the common method of communicating for Salinger & # 8217 ; s heroes. Joe Varioni is a author, Raymond Ford is a poet, and Seymour and Teddy maintain journals. Writing is a symbol of the creative person & # 8217 ; s honestness and creativeness, while the spoken word is non trusty ( Levine 499 ) . In the instance of Seymour, his brother Buddy as storyteller of Raise High the Roof Beam, Carpenters and Seymour: An Introduction, attempts to raise his dead brother through a thorough description of his life and doctrines. Salinger writes that we can & # 8217 ; t live without love. In Salinger & # 8217 ; s Hagiographas, merely kids and grownups influenced by kids are capable of loving ; those who can & # 8217 ; t love are cocottes and hypocrites ( Heiserman 497 ) . In & # 8220 ; The Long Debut of Lois Taggett & # 8221 ; and & # 8220 ; Once a Week Won & # 8217 ; t Kill you, & # 8221 ; characters spend a batch of clip at the films. These defeated Americans go to the films to avoid the duty of a mature life ( Salinger 50 ) . D.B. Caulfield writes screenplays for Hollywood, which Holden considers to be a sellout. Although he takes Sally Hayes to the theatre to see the Lunts, Holden says & # 8220 ; [ i ] degree Fahrenheit at that place & # 8217 ; s one thing [ he ] hate [ s ] , it & # 8217 ; s the films & # 8221 ; ( Catcher 2 ) . During Salinger & # 8217 ; s era it was hard to retain unity and remain alive ( Fifties 514 ) . The people of the 50s were driven to decease or privacy for non compromising their vision, such as Czech leader Jan Masaryk and Charles DeGaulle ( Fifties 516 ) . Salinger, popular during this period of conformance, wrote of people who, like Seymour Glass, refused to compromise with sordidness ( Fifties 515 ) . They would instead be destroyed by the universe ( Salinger 58 ) .

Salinger, J.D. The Catcher in the Rye. Boston: Little, Brown and Company, Inc. , 1945. Gallic, Warren. & # 8220 ; The Age of Salinger. & # 8221 ; The Fiftiess: Fiction, Poetry, Drama n.p. : Everett/Edwards, Inc. , 1970. Rpt. in Contemporary Literary Criticism, vol. 12. Detroit, MI. : Gale Research Company, 1980. _____ . & # 8220 ; J.D. Salinger. & # 8221 ; Dictionary of Literary Biography. 1978 erectile dysfunction. _____ . J.D. Salinger Boston: Twayne Publishers, 1963. Heiserman, Arthur and James E. Miller, Jr. & # 8220 ; J.D. Salinger: Some Crazy Cliff. & # 8221 ; Western Humanities Review Spring 1956, 129-37. Rpt. in Contemporary Literary Criticism, vol. 12. Detroit, MI. : Gale Research Company, 1980. Kermode, Frank. & # 8220 ; Fit Audience. & # 8221 ; The Spectator 30 May 1958, 705-06. Rpt. in Contemporary Literary Criticism, vol. 12. Detroit, MI. : Gale Research Company, 1980. Levine, Paul. & # 8220 ; J.D. Salinger: The Development of the Misfit Hero. & # 8221 ; Twentieth Century Literature October 1958, 92-9. Rpt. in Contemporary Literary Criticism, vol. 12. Detroit, MI. : Gale Research Company, 1980. _____ . Franny and Zooey. Boston: Little, Brown and Company, Inc. , 1955. _____ . Nine Stories. Boston: Little, Brown and Company, Inc. , 1948. _____ . Raise High the Roof Beam, Carpenters and Seymour: An Introduction. Boston: Little, Brown and Company, Inc. , 1955. Wiener, Gary A. & # 8220 ; From Huck to Holden to Bromden: The Nonconformist in One Flew Over the Cuckoo & # 8217 ; s Nest. & # 8221 ; Surveies in the Humanities vol. 7 no. 2, 1979, 21-6.

Post Author: admin