Tagged with j d salinger

Salinger Revisited: Teddy

The IMG 1414most explicitly Buddhist of Salinger’s stories, the titular character here is a preternaturally wise child who is apparently some sort of Buddhist panjandrum who fell from grace and as a means of atonement was reincarnated into the body of an American (had he engaged in some somewhat less egregious behavior, his reincarnation would have been less of a punishment—perhaps some sort of insect).

As with any piece of fiction whose primary purpose is didactic, the story falls somewhat flat. I imagine that there are those who would read the conclusion in which Teddy meets his self-predicted death as a satisfying end to the story, but it felt too on the nose for me.


Salinger Revisited: De Daumier Smith’s Blue Period

This is, to me, one ofIMG 1414 those stories that feels like a remnant of Salinger’s pre-New Yorker writing. Perhaps this is why it was declined by The New Yorker and instead appeared in Information World Review instead (it was, in fact, the last Salinger story that appeared outside the pages of The New Yorker). There continue to be some of Salinger’s religious concerns that would so deeply permeate the work to follow, but they are in many ways overwhelmed by the atmosphere of the story with every aspect of the setting and characters defined by a certain—can I say it?—squalor.


Salinger Revisited: Pretty Mouth and Green my Eyes

This is perhaps the oddest story in the collection.IMG 1414 The other stories in the collection tend to follow a certain pattern but this one does not. We have a somewhat mysterious scenario with a man with a young woman apparently in his apartment for a romantic adventure which is interrupted by a phone call from an offstage character. The reader discovers the identity of the man and his caller over the course of the story, but the identity of the woman is never revealed. Instead, Salinger plays an interesting game in which he pushes the reader to believe that the woman is the caller’s wife. The story ends with the caller saying that his wife has just come home and the man abruptly ending the call. I can see two ways to interpret this: One is that the caller has realized where his wife is and is playing a mind game with the man in the room. The other is that the mind game is being played, not on the man, but on us the readers. I rather prefer that second interpretation, that Salinger is taking the conventions of a story like this and pushing the story in a completely unexpected direction.


2016 in reading

My diversity report for the year: Women authors 48% (down from 51.4% last year). Non-white authors were 16.4% of my reading (up from 14.8% last year). I chose my book to hit diversity targets 25% of the time, down from 37.5% last year. I think part of that is that I’ve been more reluctant to let books by white men into my to-read list. My Dead White Men number, meanwhile, despite this climbed from 10.7% of my reading to 14.4%. Non-US authors declined to 39.9% from 41.9%, translations accounted for 10% down from 11.4% while books in Spanish increased to 3.8% from 1.1%.

The authors I’ve met number also climbed slightly from 2.5% from 1.45% Re-reads went up to 5.4% from 3.7%, authors new to me were 71.8% compared to 76.9% last year. Fiction and poetry both declined in my reading, at 47.5% (from 53.4%) and 1.3% (from 5.9%).

My total number of books was 81, down from 88 last year.

And now, my favorite reads of the year, in alphabetical order by title. Worth noting: Only one white man in the list, and mostly women. I think this is the first time my favorite list has included two books by the same author (Mary Rakow was a wonderful discovery this year). Franny and Zooey, was a re-read, but a wonderful re-read. I read La Fiesta del Chivo in Spanish.

Commonwealth by Ann Patchett

La Fiesta del Chivo by Mario Vargas Llosa

Franny and Zooey by J. D. Salinger

Geek Love by Katherine Dunn

Lila by Marilynne Robinson

The Memory Room by Mary Rakow

This Is Why I Came by Mary Rakow

The Underground Railroad by Colson Whitehead

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Salinger Revisited: For Esmé with Love and Squalor

This is, as far as I’m concerned, Salinger’s greatest title (and he has some
IMG 1414mighty fine titles, especially once we get into the uncollected stories). The structure here is a bit unusual, With the first part being a first-peron recollection of the narrator’s meeting with the titular Esmé (and her younger brother Charles). Esmé is another of these precocious young people so common in Salinger’s fiction (as an aside, I can remember one of my high school English teachers pushing Salinger on us AP kids with the suggestion that we would identify with precisely these precocious youngsters. I passed on Salinger at the time, but when I did finally read Nine Stories, I was very much in a place to be precisely charmed by said characters). The second part shifts into a third-person present-tense narrative which is ostensibly the narrator relaying his wartime nervous breakdown in the aftermath of D-Day and the occupation of Europe leading to V-E day with as much “squalor” as possible. The depiction of PTSD (a term that wouldn’t exist until the 70s) in the story is expertly drawn and given the many parallels between the narrator and Salinger himself, it’s not a far stretch to assume that there are autobiographical recollections as part of the story.

Given the use of the left turn in several earlier stories in the collection, this shows in some ways a both stronger and weaker use. The opening section is far stronger than the openings of “A Perfect Day for BananaFish” or “Down by the Dinghy,” and does a better job of establishing the pre-PTSD character of the narrator, but the dramatic change in form of the narrative in the second half of the story feels a bit forced. Even so, I’m not entirely sure if it’s a problem or a good thing.


Salinger Revisited: Down at the Dinghy

TheIMG 1414 first Glass family story without a Glass fatality. I found Salinger’s use of indirect storytelling reasonably effective here. Even though we’re never in the point of view of Lionel, we still manage to get a sense of the world through his eyes. The opening section of the novel, a conversation between two of the servants in the Tannenbaum household tells us a lot about Lionel without the reader even knowing who Sandra and Mrs Snell are discussing (I can imagine this being a source of great criticism if this story were introduced in a typical fiction workshop). 

It seems that there’s a lot of structural parallelism with “A Perfect Day for Bananafish” with the story beginning with a conversation between two characters (who disappear from the story later) about the protagonist before introducing a third character who will actually interact with the protagonist. In this instance, we have Lionel Tannenbaum standing in for Seymour Glass and Seymour’s sister Boo Boo standing in for the precocious Sybil Carpenter. Of course here, the roles of wise elder and precocious youngster have been reversed. The central concern of the protagonist here becomes more specific from the shallowness of the majority of people in “Bananafish” to Lionel’s sensitivity towards insults, in particular the fact that one of the maids called Lionel’s father a “big, sloppy kike” a phrase that Lionel doesn’t understand, but knows that it is derogatory. It’s possible to see Salinger incorporating ideas he learned from writing both “A Perfect Day for Bananfish” and “The Laughing Man” in this piece as his skills become still more polished.


Salinger Revisited: The Laughing Man

InIMG 1414 “The Laughing Man,” Salinger is telling his story while ostensibly telling a different one. It’s a great use of a narrative frame to illuminate his story in ways that wouldn’t be possible directly. We have a narrator relating memories of his nine-year-old self and not employing the understanding that the older self would have gained through adult experience. 

Salinger spends six pages before Mary Hudson, the true subject of “The Laughing Man” makes any kind of appearance and that only as a picture in the bus. Her eventual arrival sparks one of those great Salinger bits of prose:

Offhand, I can remember seeing just three girls in my life who struck me as having unclassifiably great beauty at first sight. One was a thin girl in a black bathing suit who was having a lot of trouble putting up an orange umbrella at Jones Beach, circa 1936. The second was a girl aboard a Caribbean cruise ship in 1939, who threw her cigarette lighter at a porpoise. And the third was the Chief’s girl, Mary Hudson.


Salinger Revisited: Just Before the War with the Eskimos

ThisIMG 1414 is one of those Salinger stories that left me feeling, “huh?” There is the usual Salinger wit and sharp prose (certainly, this is one of my favorite titles for a Salinger story, even if the story itself is not completely satisfying). Wikipedia informs me that, “At the time of its publication, it confused yet nevertheless delighted its audience.” which is certainly a sentiment with which I can identify. 

I’ll close these comments with my favorite sentence from the story:

Very probably, it was not part o the sofa vaudeville of a showoff but, rather, the private, exposed achievement of a young man who, at one time or another, might have tried shaving himself left-handed.


Salinger Revisited: Uncle Wiggily in Connecticut

The story whose film adaptation is (at least nominally)IMG 1414 the reason that there are no other films of Salinger works. The second of the Glass family stories, in this case with Walt Glass who appears only in recollection. Told almost entirely through dialog, it’s a good example of telling a story through indirection and omission. Again, Salinger shows a great knack for the excellent turn of phrase: “[They] were talking in the manner peculiar, probably limited, to former college roommates.”

Where the story felt awkward to me is in the inherent sexism of the situation. Not merely in that the female characters were tied into the roles dictated by 1950s American society, but that Salinger’s imagination cannot really have them push very hard against those limitations. Eloise’s life exists only through her relationships with her husband Lew and the haunting specter of Walt Glass who has Eloise metaphorically sleeping to one side of her bed just as her daughter left room for her imaginary friend.


Salinger Revisited: A Perfect Day for Bananafish

This was the first story I ever taught, in a class on Zen BuddhismIMG 1414 I took as an undergrad (everybody in the class taught some topic for half an hour). It’s been twenty-six years, at least, so I don’t really remember the details although I think I only assigned the middle section, the interaction between Seymour and Sybil. Coming back at the story, I find myself drawn into some of the masterful elements of craft in the story, particularly the first section which I’m pretty sure I did not teach all those years ago. The remarkable specificity of the opening paragraph with its “Ninety-seven New York advertising men” and the complete record of everything Muriel did while waiting for a long distance line to open so she could call her parents. The remarkable sentence, “She was a girl who for a ringing phone dropped exactly nothing.” The oblique references to an earlier suicide attempt by Seymour which might have taken place with Muriel in the car with him, given her parents’ concern about “that funny business with the trees.” The whole thing is a beautiful piece of art.

I wonder about my idea back then that the story was to be read as a sort of Zen koan. The fact that Nine Stories itself employs the koan about one hand clapping as its epigram might seem like support to this idea, but I had my doubts even when I was teaching the story to my classmates and they continue now. It feels, in some ways, as if Seymour is almost a slightly more sophisticated version of Kevin Kline’s character in A Fish Called Wanda who employs Eastern mysticism as a sort of justification and explanation for his own depression, but who most likely has not reached the level of satori that he believes he has. 

This is Salinger’s second story to appear in The New Yorker, following by a bit over a year, the uncollected “A Slight Rebellion Off Madison” which was incorporated into The Catcher in the Rye