A Perfect Day for Bananafish By:
A Perfect Day for Bananafish by J. The American version of French existentialism drew on the tradition of understated narrative and idiomatic language that began with Mark Twain's Huckleberry Finn and appeared again in Ernest Hemingway 's fiction. Salinger's story of the damaged World War II veteran Seymour Glass gave readers everything they needed to understand its characters, but it gave this information in near-comic scenes that bore little relationship to the tragic suicide that would close the story.
The story begins with a description of Glass's young wife, Muriel, waiting to place a call to her worried mother in New York.
Reading women's magazines and doing her nails, Muriel epitomizes the beautiful but vapid woman, hungry for attention and pleasure. The phone conversation makes clear that Seymour, recently returned from war, is terribly disturbed—clearly paranoic—but in the vacuous women's eyes not much changed from his prewar self.
The real object of satire in the scene is not Seymour but rather the women and their elite culture that fails to recognize a troubled psyche. Salinger's juxtaposition of the mother's questions about fashionable hem lengths and her instructions that Muriel fly home to escape the madness of her husband creates such an absurd text that the reader is left bewildered.
If people are worried about Seymour, why is Muriel alone during the couple's vacation? Toward the end of the conversation which is the longest section of the storyMuriel reproves her mother "You talk about him as though he were a raving maniac—" but then describes him lying on the beach, covered by his robe so that no one will see his tattoos which are nonexistent.
Salinger has prepared his reader well for the obviously comic closing line from Muriel's mother, "Call me the instant he does, or says, anything at all funny—you know what I mean.
Sybil-Pussy, whose name introduces what is going to become a sexualized text as she is taught what beach beauties do and are, is chanting the name of her new friend, "See more glass.
Seymour has allowed a three-year-old girl to sit beside him on the piano bench. As Sybil flirts through the child-adult dialogue with Seymour, Salinger's pattern of non sequiturs increases the sexual intensity, and Glass—calling Sybil "Baby"—creates the metaphor of the title.
Because it is, he says, "a perfect day for bananafish," he is going into the ocean. The bananafish are ogres, stuffing themselves on so much of the underwater fruit found only in banana holes that they later swell and can never escape the hole.
Although the child misses the sexual allusions in the nonsense, Seymour's courtly treatment of her in the water, placing her carefully on his inflated float and forcing her over a wave until "her scream was full of pleasure," continues the analogy.
The bananafish metaphor suggests that Glass's sexual hunger for Muriel led him into the hole of this mindless, irrelevant life; his bitingly ironic answer to Sybil's question of where "the lady" Muriel is confirms his angst. Seymour explains, using the same comic tone of the rest of their dialogue: She may be in any one of a thousand places.
Having her hair dyed mink.
Or making dolls for poor children, in her room. If there's one thing I like, it's a blue bathing suit. Come a little closer. What a fool I am. Rather than follow the traditional paradigm of beginning action, rising action leading to climax, and denouement, he arranges events to reflect a kind of systematic chaos.
As the reader feels more and more bewildered, he or she begins to construct an alternative narrative—a kind of "what if? In this fiction the reader could wonder what would have happened if Seymour had gotten the kind of helpful attention he needed; or, more darkly, what would have happened if he had shot Muriel, too—or instead of himself; or if he had taken his anger out on Sybil so far from the hotel beach that no one would have seen him.
The immediacy of Salinger's narratives, the way they pull the reader into the act of reading and deciphering, parallel his interest in Zen and the involvement of the human psyche in thought.
Salinger's writing anticipates the experimentation, the questioning, and the freedoms of the s to come. For the next decade his New Yorker stories of the Glass family and his immensely popular novel, the Holden Caulfield story The Catcher in the Rye, gripped American readers.
But as Salinger became reclusive and forbade his fiction to appear in anthologies and collections, his enigmatic fiction lost popularity.Themes: The main ideas or messages of the work—usually abstract ideas about people, society, or life in general.
A work may have many themes, which may be in tension with one another. A work may have many themes, which may be in tension with one another.
In A Perfect Day for Bananafish, by JD Salinger, The Unclouded Day, by E. Annie Proulx, and White Angel, by Michael Cunningham,the three stories involve unique literature and thematic ideas that.
A Perfect Day for Bananafish Essay Sample. World War II had a profound effect on everyone who risked their lives for their country. The soldiers who were fortunate enough to make it out alive were often scarred for life and dealt with Post Traumatic Stress Disorder (PTSD). Salinger's writing anticipates the experimentation, the questioning, and the freedoms of the s to come.
"A Perfect Day for Bananafish," collected in Nine Stories in . J.D. Salinger's A Perfect Day for Ortgies - J.D. Salinger's A Perfect Day for Bananafish At first glance, J.D. Salinger's short story 'A Perfect Day for Bananafish' is the story of a psychically-torn war veteran whose post-traumatic stress moves him to take his own life while on a second honeymoon with his wife.
A Perfect Day for Bananafish Essay Sample. World War II had a profound effect on everyone who risked their lives for their country. The soldiers who were fortunate enough to make it out alive were often scarred for life and dealt with Post Traumatic Stress Disorder (PTSD).