Bananafish Essay Research Paper EssayInnocence LostThe world free essay sample

Bananafish Essay, Research Paper Essay: Artlessness Lost The universe of childhood is protected from many of the jobs of the universe. The grownup universe is mentally, physically, and socially an accommodation that can be really hard for some people. There is sometimes a reluctance to accept maturity. In # 8220 ; A Perfect Day for Bananafish, # 8221 ; every bit good as # 8220 ; Uncle Wiggily in Connecticut, # 8221 ; J.D. Salinger focuses non merely on the loss of artlessness with young person, but besides on events that have changed his characters everlastingly. Ironically, it is frequently the kids, apparently the perfect theoretical accounts of unworried life and idea, who make this loss most apparent. The chief character in Salinger # 8217 ; s narrative # 8220 ; A Perfect Day for Bananafish # 8221 ; is Seymour Glass. He is married to a adult female named Muriel, whose name both expressions and sounds like the word # 8220 ; material. # 8221 ; This could perchance typify that she, like her female parent, is shallow, fashion-conscious, and unwilling to learn German in order to read delicate, bored poets. In the narrative, Seymour and his married woman Muriel have gone to Florida for a holiday like the 1 they had before the war. Muriel # 8217 ; s parents are disquieted about her because of Seymour # 8217 ; s behaviour since his discharge from the armed forces. They believe he has gone brainsick, yet this is non rather the instance. Populating through the war has stripped Seymour of his # 8220 ; inner child. # 8221 ; The things he saw and experient were excessively atrocious to bury. Because of this, Seymour has lost his artlessness, and its presence was greatly missed. In the narrative, Seymour meets a small miss, four-year-old Sybil. One twenty-four hours at the beach Sybil asks her female parent, # 8220 ; Did you see more glass? # 8221 ; Her female parent becomes annoyed and Tells her to run off and drama. It was so that Sybil meets up with # 8220 ; see more glass # 8221 ; on the beach. There, Seymour is loath to take his beach robe because he wants to cover his # 8220 ; tattoos # 8221 ; ; to Seymour they were an # 8220 ; grownup # 8221 ; ornament. These tattoos couldn # 8217 ; t be seen, but they were felt. To Seymour, they were fanciful Markss of maturity, which he resented. Subsequently on the beach, Seymour tells Sybil, # 8220 ; We # 8217 ; ll see if we can catch a bananafish. # 8221 ; He tells the immature miss a narrative of fish who swim into holes filled with bananas. These bananafish so gorge themselves on the fruit and, excessively fat to swim out of the holes, dice of banana febrility. Like these bananafish, hypocrites of the universe are guilty of gorging themselves with nonmeaningful material objects until they become so superficial they are beyond hope of of all time achieving religious pureness. These people are knowing bananafishes. Seymour, like the bananafish, desires the artlessness, the childhood that was wrapped before him in a xanthous bundle. However, when Sybil admits she sees a bananafish with six bananas in its oral cavity, Seymour realizes that she is already on the way toward going a superficial bananafish. In a few old ages Sybil will be like her female parent, interested merely in how another adult female has her scarf tied. At the terminal of their play-time, Seymour all of a sudden picks up one of Sybil # 8217 ; s pess, busss the arch, and announces, # 8220 ; We # 8217 ; re traveling in now. # 8221 ; He returns to the hotel and gets into the lift with a immature adult female, whom he accuses of looking at his pess. The adult female denies his accusals, which angers Seymour even more. He so tells her, # 8220 ; If you want to look at my pess, say so, but don # 8217 ; t be a God-damned sneak about it. # 8221 ; Seymour # 8217 ; s arrested development upon his pess, which do non resemble the childlike pess that he desires to hold, and the adult female in the lift # 8217 ; s scorn towards Seymour # 8217 ; s accusals, drive him to dislike the grownup universe even more. Seymour is the bananafish who can non get away the hole and achieve the spiritualism and childlike features that he so desires. In his sentiment, Seymour believes that by perpetrating self-destruction, he will be given the opportunity that he wants and demands: to get down all over once more. Succeeding the incident in the lift, Seymour continues to his room where, # 8220 ; he went over and sat down on the unoccupied twin bed, looked at the miss, aimed the handgun, and fired a slug through his right temple. # 8221 ; This is an illustration of artlessness lost. When artlessness is lost, it is lost everlastingly. Seymour wants out of a universe that is excessively material. He no longer wanted to populate as an grownup. If childhood came to an terminal, so he decided, must maturity. Recognizing this, he fired the slug, deceasing of his ain desires. What # 8217 ; s gone is gone, what # 8217 ; s done is done. # 8220 ; # 8217 ; I was a nice miss, # 8217 ; she pleaded, # 8216 ; wasn # 8217 ; T I? # 8217 ; # 8221 ; This is another illustration of doomed artlessness. It is the sound of artlessness remembered, long after it has passed. In Salinger # 8217 ; s narrative, # 8220 ; Uncle Wiggily in Connecticut, # 8221 ; there is the same struggle between artlessness and maturity. The chief character, Eloise, closely resembles Muriel from # 8220 ; Bananafish. # 8221 ; She is shallow, selfish, and self-absorbed. Throughout the narrative, Eloise battles with her lost artlessness. In the beginning of the narrative, Mary Jane arrives at Eloise # 8217 ; s house. The two adult females are old roomies from college, and while sing, reminisce upon their old college yearss. The character of the adult females is shown through their shallow conversation, still dish the dirting like school misss, while imbibing and smoke coffin nails. Subsequently, the two adult females are interrupted by Ramona, Eloise # 8217 ; s immature girl. She is accompanied by Jimmy, her fanciful fellow. While Mary Jane seems to be amused by Ramona, there is a sense that Eloise is non affected or even interested. When Ramona asks to travel back out and play ( # 8220 ; because Jimmy left his blade outside # 8221 ; ) , Eloise answers, # 8220 ; Oh, him and his goddam blade. Well. Go in front. Put your arctics back on. # 8221 ; The adult females carry on, and Eloise convinces Mary Jane to name in ill so that she could remain longer. They begin to speak about Walt, an old love of Eloise # 8217 ; s who was killed in the military. Eloise tells Mary Jane a narrative about her and Walt: # 8220 ; Once I fell down # 8230 ; I fell and distorted my mortise joint. He said, # 8216 ; Poor Uncle Wiggily. # 8217 ; He meant my mortise joint. Poor old Uncle Wiggily, he called it # 8230 ; God, he was nice. # 8221 ; Eloise becomes really sentimental and calls to her friend Mary Jane. Eloise realized the flicker of young person that she lost with the decease of Walt, the adult male she genuinely loved, with aid from Ramona. Although Ramona is about blind, the oculus of her imaginativeness is broad unfastened, and she sees Jimmy, her unseeable fellow, rather clearly. Eloise is fond of Jimmy and Ramona # 8217 ; s make-believe most likely because they subconsciously remind her of the clip when she was happiest and still had the artlessness of her young person integral, the period during which she was in love with Walt. Walt, who complemented the kid within Eloise with his ain carefree absurdity, was the incarnation of Eloise # 8217 ; s artlessness. When he was killed, so was the kid in Eloise. She did non recognize this fact, nevertheless, until many old ages subsequently. Her artlessness had drifted off, unnoticed, until Eloise believed she had ever been the grownup she had come to be. It took a re-experiencing of the experience of Walt # 8217 ; s decease through Ramona and the decease of fanciful Jimmy to do her realize what had happened. When Jimmy was # 8220 ; run over, # 8221 ; Ramona rapidly replaced him with Mickey ( whose invisibility made him look equal to Jimmy through Eloise # 8217 ; s adult eyes ) . The choler she showed toward Ramona upon the debut of Mickey was genuinely anger she felt toward herself, who replaced Walt with Lew as if it didn # 8217 ; t affair, as if no unfairness had been committed. She had replaced her interior kid with an grownup and had neer been rather happy since. It was merely when she looked at her life through Ramona # 8217 ; s spectacless that she was able to mourn the loss of Walt, her artlessness, her ain Jimmy, the unseeable, the original, the unreplaceable. Although artlessness can neer be recovered once it is lost, there is still something left buttocks. Salinger # 8217 ; s narratives # 8220 ; A Perfect Day for Bananafish # 8221 ; and # 8220 ; Uncle Wiggily in Connecticut # 8221 ; , do this quite clear. The narratives end after the loss of artlessness has been acknowledged. The reader, so, can make up ones mind what will go on to the character, merely as she is left with a pick about what to make with her ain maturity. We can take to travel out with a knock or allow the air current blow us where it will.