The new book and documentary about J. D. Salinger by Shane Salerno and David Shields promote themselves as revealing substantial new information about Salinger’s writings and his famous reclusiveness. I think the most intriguing information from it is confirmation that several new works from Salinger will be published in the next few years. However, I think this new project misses the point about his writings and their meaning, as have previous critics over the years — including Mailer, Updike and others. They seem fixed on interpreting his work and life as indicating withdrawal and detachment from the world. However, quite the opposite is reflected in reading his Glass family stories. Contained within them is a vision of engaged connection and love — that’s his overriding theme, within an acknowledgement of our human flaws and failings (including his own.) No wonder Salinger disengaged from responding and replying to those who tried to interpret him within a Hemingway-esqe framework.
Now, in a very thoughtful and insightful piece about Salinger’s vision contained within his Glass stories, beyond the Catcher In The Rye, Andrew Romano presents a more accurate understanding of Salinger’s work. He writes in The Daily Beast, “Neither Mailer nor any of his fellow travelers seemed to notice that Salinger was trying to accomplish something different than what he was after when the Glass series began in the late 1940s.” And, “By the time Franny and Zooey came out in 1961, followed by Raise High the Roof Beam, Carpenters and Seymour: An Introduction in 1963, Salinger’s style had changed. Gone was the idiomatic cool, the chic minimalism, and the formal shapeliness of “Bananafish”; in its place was something shaggier, more digressive, more self-conscious, and more explicitly spiritual.”
Romano’s essay is well-worth reading and reflecting upon. Click here for the entire piece.