Bidney talks about how the turning point in a Salinger story is often accompanied by a game of , or the little girl turning her doll’s head to face Seymour in the poem in “Zooey.” Other forms of games and tricks in Salinger include the use of framing devices, the employment of a play-set New York that is at once familiar and fake, and the winking italicization of words and syllables to inflect layers of meaning.Tags: Use Concession EssayThesis Binding In London BridgeI Suck At Writing EssaysEssay S 2015 College StudentsWhat Is Problem Solving SkillCreative Writing Seminars NycMaster Thesis List Of SymbolsEffective Time Management Case Studies
Salinger’s writing is full of feints and winks and a willingness to play.
For example, Salinger’s signature snappy vernacular dialogue often takes on properties of theatrical improvisation through which characters play off one another with the aim of keeping the conversation going to reach a point of emotional payoff.
Shortly following the near-universal acclaim of , Salinger’s “Franny” and “Zooey” and subsequent installments meditating on the Glass family were met with increasingly critical resentment and weariness of Salinger’s devotion to a set of precocious, misunderstood geniuses, so much so that by the time “Hapworth 16, 1924” appeared in in 1965, it was “greeted with unhappy, even embarrassed silence” (Malcolm).
Since then, many authors and fans have sought to redeem Salinger from a writerly perspective (Samuels; Kotzen and Beller), while his status in the world of literary criticism remains uncertain.
I plan to begin at the beginning—that is, with “Telemachus,” and a seemingly offhand quip by Buck Mulligan: “The rage of Caliban at not seeing his face in a mirror, he said. Joyce introduces Shakespeare’s monster through the gregarious Mulligan, a man whose flashy linguistic and textual fluency overwhelms Stephen’s more cautious persona.
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The remark is characteristically intertextual, a rephrasing of Oscar Wilde’s epigraph to , a piece of brief yet incisive commentary on the tension between Realist and avant-garde art: “The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass.
And I propose to talk about these techniques and devices in the context of writerly tricks, games, and pranks.
Perhaps much of what lends Salinger’s work its magical character is, in fact, magic, in the sense of sleight of hand and intentional artifice and trickery.
/ The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass” (Wilde 3). Most scholars contend that Joyce is engaged primarily with Wilde as a fellow, near contemporary Irish writer.
In this case the question is semi-historical and largely abstract.