Franny and zooey jd salinger pdf


 

Franny and Zooey and Me: The Mystical Writings of J.D. Salinger Laura Michetti “ Sing to me oh muse, of a man.” -Homer, The Odyssey That the second oldest. different from the Franny in the later Glass stories because Salinger originally pilgrims as shown by J.D. Salinger in Franny and Zooey are, according to. Remembering Salinger's Franny And Zooey Through Pari And The Royal versus Institutions in JD Salinger's The Catcher in the Rye and Franny and Zooey .

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Franny And Zooey Jd Salinger Pdf

medical-site.infoer. Zooey, Source: Salinger J.D. Nine Stories. Franny and Zooey. Raise High the Roof Beam, Carpenters. Moscow: Progress Publishers, This thesis explores how J.D. Salinger's short fiction concerning the Glass family . “A Perfect Day for Bananafish” from Nine Stories, Franny and Zooey, Raise. Franny comes home from college in a state of collapse. She is Zooey. By J. D. Salinger. April 26, May 4, P. The New Yorker, May 4, P.

Franny[ edit ] The short story concerns Franny's weekend date with her collegiate boyfriend, Lane Coutell. Lane takes her to a fashionable lunch room, where Franny quickly becomes exasperated when he only appears interested in conversing about the minutiae of his academic frustrations. Franny questions the importance of college education and the worth of Lane's friends. She eats nothing, feels faint, and becomes progressively more uncomfortable talking to Lane. Eventually she excuses herself to visit the restroom, where, after a crying spell, she regains her composure. She returns to the table, where Lane questions her on the small book she has been carrying. She explains that the book is titled The Way of a Pilgrim and tells the story of how a Russian wanderer learns the power of "praying without ceasing". The Jesus Prayer involves internalizing the prayer "Lord Jesus Christ, have mercy on me" to a point where, in a manner similar to a Zen koan , it becomes unconscious, almost like a heartbeat. Lane is less interested in the story than in keeping their timetable for the party and football game, though when Franny faints, he tends to her and postpones the weekend's activities. After she wakes, he goes to call a taxi to take her to her lodging, and leaves Franny alone—practicing the act of praying without ceasing. Zooey[ edit ] Zooey reads a four-year-old letter from his brother Buddy in the bath in his family's home. In the letter, Buddy discusses their eldest brother Seymour's suicide several years previously, and encourages Zooey to pursue an acting career if he is drawn to it.

Salinger's Silence, offers an enriching perspective: Though the narcissistic concerns for the craft of fiction runs through the entire body of Salinger's works, it comes under sharper focus in "Inverted Forest" and "Seymore: An Introduction. James Lundquist suggests how Salinger, by using Holden's preference for certain colloquials and slangs and aversion towards others, shows two sets of realities. We are, in fact, prisoners of our words.

In several of Salinger's stories a character's phoniness or sincerity can be discerned from the kind of vocabulary he chooses to use. Lane Coutel's vocabulary for example, reveals his phoniness. Lundquist also compares the art of Salinger with the linguistic philosophy of Wittgenstein.

Wittgenstein concludes that there is no discoverable reality outside language and that the world of facts will eternally be beyond human cognition for language cannot reach the world of facts.

A writer who is suspicious of language enjoys a particular kind of suffering through their work. In Zooey, the reader discovers something of the Glass family's spiritual disposition in the contents of a letter from Buddy to Zooey that explains why he and Seymour, the two eldest siblings, took it upon 15 Alexander, Suzuki says somewhere that to be in a state of pure consciousness- satori- is to be with God before he said Let there be light. Seymour and I thought it might be a good thing to hold back this light from you and Franny at least as far as we were able And while it is made clear to the reader that these two young siblings are not at all ordinary one might venture to say Franny and Zooey are both genuinely special the relationship they have with the divine is somehow tainted.

The combined stories of Franny and Zooey, detail the consequences of such a cultivated mystical initiation. A Word about Franny. In Franny and Zooey were mass market published as a collection of two short stories- the first titled Franny and the second titled Zooey- after having been first published separately in The New Yorker a few years before.

By far the most popular of the glass family stories, Franny and Zooey have enjoyed their popularity as though they were one. There is a culminating intimacy in their tales which not only offers a great deal of insight toward a mystical reading of Salinger's work as a whole, but also 18 Salinger, Zooey, When Franny was ten months old she was moved into the room shared by Buddy and Seymour in hopes of being protected from a mumps outbreak in the house.

They can hear. Franny and Zooey are the youngest of the Glass children; at the time of the stories Franny is twenty years old and Zooey is twenty five.

The general plot of the two stories is that Franny is in the midst of a spiritual crisis and Zooey attempts at first very unsuccessfully, but later, perhaps successfully to guide her through this dark night of the soul in which we the readers come to know her. The first story, Franny, takes place basically in a restaurant with Franny and her collegiate boyfriend Lane Coutel sitting in a booth discussing literature and college.

Franny ends with Franny fainting thus ruining her weekend vacation with Lane. Zooey takes place entirely within the Glass residence. Initially we find ourselves in a bathroom where Zooey is bathing when Bessie, in exemplar motherly fashion, invades the space determined to discuss her deep concern for Franny, who having come home from her vacation with Lane, has spent a number of days crying, refusing food or drink, and lying around the Glass residence in a state of existential crisis.

These two well loved stories detail an important stage in any mystical awakening- namely, despair, but there is an unsettling gender bias that is palpable in the stories. Admittedly, Franny is the one mid-crisis and so her affect fearfulness, weakness, anger makes sense in the moment.

But it does raise more than a few eyebrows that the female of the story the baby of the family, in a long lineage of male spiritual guides complete with the martyred savior Seymour is the one having the breakdown at all. Her symptoms crying, blowing her nose, cuddling with the cat are altogether too stereotypically feminine to go unnoticed as such.

But I want to give Salinger more credit than that. I believe that Salinger was more than a product of patriarchal culture indeed we tend to think of him as a creator of culture, a narrator of inner cultures that had before him remained silent and from this perspective, Franny and Zooey are in all of us. From day to day, week to week, mystical moment to mystical moment, we spiritual beings are always changing from Franny to Zooey- always scared to death of the divine when it shows itself to us, and then when the threat is over we commit ourselves to rationalizing it away.

Eventually Zooey does bring Franny a sense of peace- but only once he determines to meet her a little more halfway: I'll tell you one thing, Franny.

One thing I know. And don't get upset. It isn't anything bad. But if it's the religious life you want, you ought to know right now that you're missing out on every single goddam religious action that's going on around this house.

Franny and Zooey

You don't even have sense enough to drink when somebody brings you a cup of consecrated chicken soup- which is the only kind of chicken soup Bessie ever brings to anybody around this madhouse. So just tell me, tell me buddy. Even if you went out and searched the whole world for a master — some guru, some holy man-- to tell you how to say your Jesus prayer properly, what good would it do you?

How in hell are you going to recognize a legitimate holy man when you see one if you don't even know a cup of consecrated chicken soup when it's right in front of your nose?

Maybe its not supposed to resolve- perhaps its beginninglessness and endlessness is a metaphor- a mirroring of the divine itself- Salinger's way of praying ceaselessly. On Self-Realization. The Glass Family and to a lesser extent Holden Caulfield and Salinger's other characters represent the multiplicity of spiritual dispositions that inevitably construct the sorts of mystical experiences they will have. He is probably trying through his fiction to communicate epiphanies, the inner reality of characters, enlightening experiences that occur to an expanded consciousness.

The dialogue form that characterizes Salinger's work is exemplified in the short stories Franny and Zooey. Both stories are dominated by conversations between Zooey and Bessie, Franny and Lane, Zooey and Franny, and each of the siblings in conversation with the ghosts of their older brothers, one, Seymour, dead from suicide the subject of Salinger's short A perfect Day for Bananafish and the other our familiar narrator Buddy, who has intentionally exiled himself from family and worldly life.

Yet, they lead us to an understanding of an alternative perception of the universe that welcomes all experience as divine gift. A Vedantic Interpretation of J. Salinger's Silence, offers an enriching perspective: Though the narcissistic concerns for the craft of fiction runs through the entire body of Salinger's works, it comes under sharper focus in "Inverted Forest" and "Seymore: An Introduction.

James Lundquist suggests how Salinger, by using Holden's preference for certain colloquials and slangs and aversion towards others, shows two sets of realities.

We are, in fact, prisoners of our words. In several of Salinger's stories a character's phoniness or sincerity can be discerned from the kind of vocabulary he chooses to use. Lane Coutel's vocabulary for example, reveals his phoniness. Lundquist also compares the art of Salinger with the linguistic philosophy of Wittgenstein. Wittgenstein concludes that there is no discoverable reality outside language and that the world of facts will eternally be beyond human cognition for language cannot reach the world of facts.

Jerome David Salinger. Zooey

A writer who is suspicious of language enjoys a particular kind of suffering through their work. In Zooey, the reader discovers something of the Glass family's spiritual disposition in the contents of a letter from Buddy to Zooey that explains why he and Seymour, the two eldest siblings, took it upon 15 Alexander, Suzuki says somewhere that to be in a state of pure consciousness- satori- is to be with God before he said Let there be light.

Seymour and I thought it might be a good thing to hold back this light from you and Franny at least as far as we were able And while it is made clear to the reader that these two young siblings are not at all ordinary one might venture to say Franny and Zooey are both genuinely special the relationship they have with the divine is somehow tainted. The combined stories of Franny and Zooey, detail the consequences of such a cultivated mystical initiation.

A Word about Franny. In Franny and Zooey were mass market published as a collection of two short stories- the first titled Franny and the second titled Zooey- after having been first published separately in The New Yorker a few years before. By far the most popular of the glass family stories, Franny and Zooey have enjoyed their popularity as though they were one.

There is a culminating intimacy in their tales which not only offers a great deal of insight toward a mystical reading of Salinger's work as a whole, but also 18 Salinger, Zooey, When Franny was ten months old she was moved into the room shared by Buddy and Seymour in hopes of being protected from a mumps outbreak in the house. They can hear. Franny and Zooey are the youngest of the Glass children; at the time of the stories Franny is twenty years old and Zooey is twenty five.

The general plot of the two stories is that Franny is in the midst of a spiritual crisis and Zooey attempts at first very unsuccessfully, but later, perhaps successfully to guide her through this dark night of the soul in which we the readers come to know her. The first story, Franny, takes place basically in a restaurant with Franny and her collegiate boyfriend Lane Coutel sitting in a booth discussing literature and college.

Franny ends with Franny fainting thus ruining her weekend vacation with Lane. Zooey takes place entirely within the Glass residence. Initially we find ourselves in a bathroom where Zooey is bathing when Bessie, in exemplar motherly fashion, invades the space determined to discuss her deep concern for Franny, who having come home from her vacation with Lane, has spent a number of days crying, refusing food or drink, and lying around the Glass residence in a state of existential crisis.

These two well loved stories detail an important stage in any mystical awakening- namely, despair, but there is an unsettling gender bias that is palpable in the stories.

Admittedly, Franny is the one mid-crisis and so her affect fearfulness, weakness, anger makes sense in the moment. But it does raise more than a few eyebrows that the female of the story the baby of the family, in a long lineage of male spiritual guides complete with the martyred savior Seymour is the one having the breakdown at all. Her symptoms crying, blowing her nose, cuddling with the cat are altogether too stereotypically feminine to go unnoticed as such.

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But I want to give Salinger more credit than that. I believe that Salinger was more than a product of patriarchal culture indeed we tend to think of him as a creator of culture, a narrator of inner cultures that had before him remained silent and from this perspective, Franny and Zooey are in all of us. From day to day, week to week, mystical moment to mystical moment, we spiritual beings are always changing from Franny to Zooey- always scared to death of the divine when it shows itself to us, and then when the threat is over we commit ourselves to rationalizing it away.

Eventually Zooey does bring Franny a sense of peace- but only once he determines to meet her a little more halfway: I'll tell you one thing, Franny. One thing I know. And don't get upset. It isn't anything bad. But if it's the religious life you want, you ought to know right now that you're missing out on every single goddam religious action that's going on around this house.

You don't even have sense enough to drink when somebody brings you a cup of consecrated chicken soup- which is the only kind of chicken soup Bessie ever brings to anybody around this madhouse. So just tell me, tell me buddy. Even if you went out and searched the whole world for a master — some guru, some holy man-- to tell you how to say your Jesus prayer properly, what good would it do you?

How in hell are you going to recognize a legitimate holy man when you see one if you don't even know a cup of consecrated chicken soup when it's right in front of your nose? Maybe its not supposed to resolve- perhaps its beginninglessness and endlessness is a metaphor- a mirroring of the divine itself- Salinger's way of praying ceaselessly.

On Self-Realization. The Glass Family and to a lesser extent Holden Caulfield and Salinger's other characters represent the multiplicity of spiritual dispositions that inevitably construct the sorts of mystical experiences they will have.

He is probably trying through his fiction to communicate epiphanies, the inner reality of characters, enlightening experiences that occur to an expanded consciousness. Seymour resorts to suicide, Franny is left in a sort of spiritual purgatory, Buddy has withdrawn completely into the the contemplative life, and Zooey is admittedly maladjusted and neurotic. What is the incessant lure of the mystical path that draws our innocent enough spirits toward our own potential downfall?

After contemplation, Zooey telephones Franny, pretending to be Buddy.

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Franny eventually discovers the ruse, but she and Zooey continue to talk. Zooey shares with her some words of wisdom that Seymour once gave him, suggesting that one should live with optimism and love because, even if nobody else does, Jesus notices. After Zooey hangs up, Franny lies in their parents' bed and smiles at the ceiling. Major themes[ edit ] The story reflects Salinger's known interest in Eastern religious philosophy such as Zen Buddhism and Hindu Advaita Vedanta , [2] as well as Orthodox Christian spirituality, particularly in a brief section in the second part that includes quotations from spiritual texts.

There is also a discussion of whether the book is a "mystical story" or a "love story" in the introduction to the second section, as speculated by the book's narrator, Buddy Glass who decides it's the latter. Gerald Rosen, in his short book Zen in the Art of J.

Salinger, observes that Franny and Zooey could be interpreted as a modern Zen tale, with the main character Franny progressing over the course of the short story and novella from a state of ignorance to the deep wisdom of enlightenment. According to one account, Salinger did not want to imply Franny was pregnant, and added one line of Lane Coutell's dialogue in a futile attempt to eliminate any ambiguity.

John Updike felt that Salinger's work was more than adequate.

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