For Seymour's Fat Lady

Studying the dynamics of a family unit (and as it fits into an individual’s identity) is far from an original subject for writers. J.D. Salinger, however, is able to encounter such a topic with a refreshing take. In his two short stories, “Franny” and “Zooey”, Salinger revisits the themes of identity, wisdom, and family. He creates a credible situation with his ability to write both conversationally, as well as a style similar to that of a playwright.

Although his best known work is probably Catcher in the Rye, Salinger’s Franny and Zooey focus on characters I believe are far more developed and realistic than “Catcher”s Holden Caulfied (not to say that Caulfield isn’t believable, but Salinger’s characterization in this work has far more depth and color). The stories have two main characters (Franny and Zooey) and also well developed secondary characters (Lane and Bessie). The writing technique follows the author’s usual style; sometimes-imperfect, varied sentences that are intelligent, conscious, but also very conversational. Salinger’s style is a mesh of third person omniscient and close confidante. This, with his excessive mention of detail – both on the physical level of moving and the emotional level of thinking – makes for a story that, at some times, reads somewhat like a well-developed play.

The first story, “Franny”, serves almost as a prologue for the notably longer and more developed second story, “Zooey”. “Franny”, using the above mentioned literary technique, explores the title character’s trip back to Yale to visit her scholarly boyfriend. Franny, herself, is a hyperconscious, learned young woman sick of the egotistical and often useless work of the academic set. She finds herself disgusted by the trite, self-loving remarks her boyfriend makes, as he proudly discusses a recent paper he wrote on Flaubert. As the story wears on, the reader learns that Franny is suffering from some sort of break down, frustrated with everything she’s learned so far, writing if off as meaningless. She puts her faith in the “Jesus Prayer”, which commends the life of someone incessantly praying.

Zooey seems to pick up a week later (though, for the author, about 2 years had passed since the publishing of the first story), and begins with the narration concentrating of Franny’s older brother, Zooey Glass. This longer story provides more insight to the two siblings’ family life and back stories, as Zooey tries to reason with his sister about her supposed break down. Through a mix of intelligent banter, frustrating superiority, continued (and thinly veiled) mourning of their eldest brother, Seymour (who committed suicide seven years prior), the two try to understand themselves through the analysis of each other’s lives, and through culture.

Through their strained conversation, we learn about their own weaknesses and qualities as they try to discern and define the other. They separate the differences between people and their egos, between knowledge and wisdom, and between Jesus and what Franny imagines the son of God to be. Along the way, they also manage to establish a family dynamic like none other, based on love, regret, and a common goal to understand their purpose for existing. The love is established by Zooey’s constant guidance of his words, making sure not to say anything that would shatter his sister too much. J.D. Salinger is able to preserve the very familiar relationship between brother and sister; it does not feel false or contrived. The regret is established as Zooey stumbles into his deceased older brother’s vacant room, pouring over his old objects with a strong sense of painful reminiscence.

In probably one of my favorite passages in a story ever, Zooey calls his sister from the next room over and delivers a very strange, sideways apology/compliment. He revisits a past experience, watching his sister act in a summer stock show. As his speech unfolds, he comes to the realization that he has figured out what she is supposed to do with her life. He relates it closely to an old saying of their deceased brother, saying “There isn’t anyone out there who isn’t Seymour’s fat lady”. The very poignant (yet strange out of context) passage sticks out in my mind, the image of two siblings in two separate rooms confiding in each other.

With this passage, J.D. Salinger won me over.