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10 J D Salinger Franny and Zooey en
10 J D Salinger Franny and Zooey en
10 J D Salinger Franny and Zooey en
com
Professor Amy
Hungerford: In light of the
it.
It is really going to give you
I do it a lot.
Why do I do it?
Well, there are two reasons,
one because I want you to hear
literary art.
Literary art is a verbal art,
so much.
So, to get a sense of that,
my argument today.
But then, there is a second,
quotation marks,
you are not using any of the
not.
So, think of this lecture,
as I go through it,
as a kind of model.
I do it every week.
It just so happens that this
in my own mind.
It's less of an opening
period,
so that's what I'm giving you.
novel?
Uh huh.Student:
Hungerford: Absolutely.
Confined settings,
Yes.
What else?
Yes.Student:
A lot of
dialog?Professor Amy
Hungerford: Lots of dialog,
yes.
What else?
Uh huh.Student:
[inaudible]Professor
Amy Hungerford:
Yeah, yeah.
Absolutely.
Yeah.
the novel.
Yeah.
What else?
What else did you notice?
Yes.Student:
There's a lot of focus on
Amy Hungerford:
Yeah.
novel?
You talked about dialog.
Yes.Student:
There's a lot of
italics.Professor Amy
Hungerford: A lot of
italics.
What does that connote to
you?Student:
Trying to convey
feeling.Professor Amy
Hungerford: Yeah.
Absolutely.
A lot of emphasis,
representation of that.
Yeah. What else?
Yes.Student:
A lot of the dialog seems
to be combative.
There's arguing between two
people.
Professor Amy
Hungerford: Yes.
This is a book about arguments,
absolutely.
What are they arguing about
All right.
Well, that's where I will pick
up.
Oh, Sarah.
Hungerford: Yeah.
Yeah.
Absolutely.
They are talking about abstract
intellectual ideas,
often religious or
philosophical ones,
and that, plus its setting:
breakdown.
We're told that Lane isn't
exactly a Yale man,
but he sure looks a lot like a
to advance an argument,
is try to write an argument
to do is to come up with
something where,
in the end,
you can say something about
way?
Why are these particular
rightly.
But I'm going to start from a
especially does,
is that you don't get at all
her housecoat.
But Zooey has a more
substantive objection.
It's the leading man,
48.]
He feels that the plot hinges
on mysticism or religious
mystification.
In any case,
he makes it very clear,
except as a familiar,
healthy American expletive will
dogs.
And then, he speaks back to
Zooey.
He says, "Well,
love story.
I say that my current offering
all.
I say it's a compound or
objections?
I think it's to give us a
a mystifying story?
Which is it?
Lane.
So, Franny when she sees Lane,
"Lacks what?"
Franny said.
Lane hesitated.
"Masculinity," he said.
"Why?"
she asked.
was."
"Oh," Franny said.
She smiled.
Franny is disgusted by his
pomposity.
This experience,
man,
Professor Tupper,
superficial,
that it's impossible to find
pseudo-intellectual problems,
the "testicularity" of one
writer or another.
And Lane's engagement with
literature, specifically,
is all about his ego inflation.
Hello.
Student: Hi.
Can I interrupt?
We have a couple of singing
valentines.
Can we deliver them
now?Professor Amy
Hungerford: No,
you can't.
Sorry.
Student:
Thank you.Professor
Amy Hungerford:
And I'm worried about
e-mail!
All right.
So, she starts saying the Jesus
the Pilgrim.
It's a Russian Orthodox
religious classic,
a very old text,
in my argument:
What is Zooey's critique of
"God almighty,
Franny," he said.
out of it."
And then, this argument goes on
organized cant.
Jesus was a supreme adept,
doctrinally specific
understanding of the Jesus
bathtub?
The letter in the bathtub tells
Sorry.
That's not exactly the right
page.
This is 65.
I'm sorry.
Dr.
Suzuki says somewhere,
sciences, classics,
languages--'til you were both
mystical tradition.
The idea is that there is some
sciences, literature,
all of the religious writings
is God saying,
"Let there be light."
keeps saying,
"Well, why won't you get a
phone, Buddy?
You're paying to maintain this
so to speak,
family apartment,
upon it.
But there's a whole ritual
This is on 175.
or hail, or brimstone.
So, why does he do this?
appearance?
Well, one thing that a literary
(The cigar?
I don't have an account of that.
philosophical,
mystical, literary reading,
Rama Krishna:
"That's the way with you
Calcutta people.
You want to teach and preach.
forms;
they may make mistakes;
difficulty?
Why does he have this
is concerned with.
There is a detail here of
that observation,
remind you of that.
passionate about.
And we know--from reading
out of.
"You can say the Jesus
Detachment, buddy,
and only detachment,
desirelessness,
cessation from all hankering.
if you like,
you not only had a hankering to
be an actor or an actress,
but to be a good one.
to.
What could be prettier?"
cosmic futures.
So somewhere,
is to inhabit that,
to honor that,
of Zooey's face,
there's a beautiful description
of acting.
And I would remind you,
we find Shakespeare.
And I think Shakespeare in this
dramatic.
So, in our tradition
dramatist.
It's important for this novel
prayer.
Acting has a deeper relation to
drama.
It takes place in small rooms.
In the diner,
in the apartment:
dialog,
those enclosed spaces,
quality,
the combativeness of that
conversation,
its sheer style.
carefully,
that relates back to this
a religious actor,
and he points back to advice
show.
So, they were all radio show
whiz kids, and one day Zooey had
not wanted to shine his shoes
novel,
one of the first things you
excessively embodied?
That's what fatness is in a
the human.
That's what this woman
secret.
Are you listening to me?
secret yet?
And don't you know--Listen to
me, now.
Don't you know who the Fat Lady
really is?
Ah, buddy.
buddy."
This seems like a completely
vision, or is it a Christian
one?
For joy,
apparently, it was all Franny
no further speech,
then "I can't talk anymore,
buddy."
The sound of a phone being
connection.
She appeared to find it
extraordinarily beautiful to
listen to, rather as if it were
itself.
The dial tone is that state of
meaningless sound.
And so, this is how Salinger
balances the syncretic,
the sort of empty mysticism of
person.
Salinger's own novel performs
walks in.
A stranger with a flair
the room,
at a quick glance,
twelve-year-old lawyers or
researchists.
moments of style.
So, "in the familiar phrase,
cliché.
Here it is. There it is."
a witticism,
would say this.
He gives it to us,
but he frames it as an
affectation of style.
So, what Salinger,
represents.
That's the affectation of
Franny, Zooey,
Buddy, Bessie:
birthday celebration,
where the family had put on a
love.
This is why Buddy really can't
that's letters.
The performance of family
impersonates Buddy;
he's acting.
speech.
And so, when he tries to
imitate Buddy,
she finds him out very quickly.
Zooey has.
And so, if we step back for
want to say.
First of all,
novel.
So, as you think about writing
art,
and then thinking about a
of your paper,
making sure that those two can
novels.
So, you can read this very
and in principle,
nothingness.
everythingness.
And it's interesting to think
really are.
So, Zooey's specificity is the
specificity of doctrine,
but it's also the specificity
person.
I will stop there,
in the section.
It will be helpful to you,