Yet an interpretation that prioritizes Joyce’s engagement with Shakespeare provokes prioritizing Caliban as a key touchstone for Stephen throughout the novel; if Caliban is the focal point, rather than Wilde, the concern shifts to the—far more comprehensive—question of Stephen’s desire for mastery of self-expression.Tags: Key Analysis On Subhiksha Failure EssayEssay Grammar FixerAnimated HomeworkResearch Paper In Mla StyleSocial Engineering Doctoral ThesisMarketing Dissertation PdfSocial Issue EssayImpact Essays On Ignorance And The Decline Of American CivilizationBusiness Planning Examples
This is particularly evident in the exchange between Seymour and Sybil in “A Perfect Day for Bananafish,” in which the collaborative back-and-forth between the two players leads to the creation of the myth of the bananafish.
A kind of prank Salinger plays on the reader is the couching of his narratives in the authorship of the fictional Buddy Glass and the creation of a Glass superstructure of linked stories.
In the opening section of “Zooey,” Buddy says, “what I’m about to offer isn’t really a short story at all but a sort of prose home movie” ( 47).
Buddy’s proclamation of documentary is complicated by the fact that we know this is fictional story by Salinger and, even within the logic of the Glass family chronicling, it’s clear that Buddy was not there for the events of the story.
Both men think and verbalize permutations of Leontes’ angry ramblings in Act I Scene II, and both scenes are contextualized by discussions of linguistic and artistic control—here, one and the same—and perhaps more importantly, explicit discussions of attaining freedom through those mediums.
While I have less experience with As yet, I am uncertain of the role of scholarly research in my thesis plans.
What qualities do readers (especially writer-readers) admire in Salinger’s stories?
And what about these qualities and others make Salinger’s body of work difficult or unappealing from a critical standpoint?
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.
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.