Read Dokuz Öykü by J.D. Salinger Coşkun Yerli Online


Sahte dünyanın sahte insanlarına topyekün savaş açmıştı Salinger: Bu kitaptaki öyküler, bu dünyanın kabullenilmesinde değil, aşılmasında buluyor doruk noktasını. İnce bir ironiyi, keskin gözlemleriyle bütünleyen yazar, James Joyce'un "epiphany" tanımına uyan bir öykü döngüsü yaratıyor. Salinger: bu yüzyılın ironik ve mistik batılısı....

Title : Dokuz Öykü
Author :
Rating :
ISBN : 9789753630484
Format Type : Paperback
Number of Pages : 168 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Dokuz Öykü Reviews

  • brian
    2018-12-08 08:37

    i know of three people who are totally obsessed with j.d. salinger:john hinckleymark david chapmangoodreads david i know of four reasons why i (must) love this book:1) because i don't want to see a list that looks like this:ronald reaganjohn lennongoodreads brian2) because in the early 80s salinger was a huge fan of the sitcom mr. merlin which was based on the premise -- wait for it… wait for it... -- that merlin (yeah, that merlin) is alive and well in san francisco and working as a mechanic. and it gets better: salinger became totally obsessed with elaine joyce, the lead actress from the show, and came out of hiding to track her down and date her. joyce could later be seen on just about every single game show and… well, just watch this clip:, you really gotta love charles nelson reilly)i imagine salinger, lonely, smelly, the bottom of his too large t-shirt hard with encrusted sperm, top of it soft with drool… beard stubble, cat hair, spoiled milk, stale danish, waiting all week for the chance to tug at his old man penis to 23 minutes of mr. merlin, hoarsely shouting in anger and frustration as he’s about to ejaculate and they abruptly cut away from joyce to merlin. (thank god for tivo and being able to freeze frame or slo-mo marisa tomei without having to hoarsely shout at ethan hawke and phillip seymour hoffman)so, it’s very funny, of course, but also incredibly human and poignant and tragic. and while the tendency is to ridicule salinger for falling for a third-rate sitcom actress, it can’t help but humanize and endear him to any of us who have totally, completely, and inexplicably fallen for someone…3) because i'm a shameless contrarian and all you fuckers love to rag on the man. so i really wanted to love this book. and it wasn't difficult. 4) because it's great. these stories are great. and they don’t even feel like stories, but like nine strange impressionist sketches. i almost feel that each story should have started and ended with an ellipse... you kind of flow from one weird, fragmented sketch to the next -- from the laughing man, which makes you feel more like a child than any story you’ve ever read, into bananafish which is loaded with more stunning and surreal imagery than should be allowed in one story, and then to Teddy’s strange world of cruise ships and fate and genius children…get in the ring, motherfuckers!

  • Duane
    2018-11-23 09:35

    This is as good of a short story collection that one could hope to find. Salinger was a heck of a writer, certainly well known for his classic, The Catcher in the Rye, but there is much more out there, like this little jewel for example. I give this 5 stars on the strength of two stories alone, but they all were good. The two stories I mention are A Perfect Day for Bananafish, and For Esme - With Love And Squalor. Both have themes involving troubled soldiers returning from World War II. Salinger's experiences in the war certainly influenced his writing, and may have been partly responsible for his reclusiveness for the last 45 years of his life.Update: September 2017 is the release of the movie "Rebel in The Rye", which is based on the autobiography J.D. Salinger: A Life by Kenneth Slawenski. I look forward to reading the book and seeing the movie to learn more about this interesting man.

  • David
    2018-11-28 09:29

    If I can get serious for a moment, and cast aside the brittle, smartassed, persona that the social networking aspect of goodreads tends to bring out, I'd like to try to express what it is that drives me in this life. It is the following belief, instilled primarily by my mother, an exceptionally smart woman who never suffered fools gladly, but had the mitigating grace to be one of the warmest, most generous women you could ever hope to meet, as well as having one of the greatest voices you can imagine(Buttercup)Here's the main thing she taught me: each of us has an inescapable responsibility to take whatever talent we have been given on this earth, and to develop it as far and as well as life allows.This is so deeply ingrained in my beliefs that I can pretty much trace every major decision I've made in my life back to it.What does this have to do with the price of eggs? Well, it's the reason Jerome David Salinger makes me as mad as all get out. Because I can certainly understand why, given the perfection of the stories in this collection, any writer might not want to risk spoiling his reputation by following up with work that might not reach the same level. Hell, nothing could possibly reach the perfection of the stories, "For Esme - with Love and Squalor", "The Laughing Man", "Down by the Dinghy", or "Just Before the War with the Eskimos". And while I'm not really a great fan of Seymour Glass, "A Perfect Day for Bananafish" is pretty damned awesome as well.So, yeah, J.D. - after those stories, it's hard to imagine anything better. Even anything comparable.But that's still no excuse for not trying, you arrogant egotistical bastard. You were dealt a monumental, unimaginable, talent. And for you to squat there in-fucking-communicado in your bloody bunker in New England, resting on your admittedly golden freaking laurels, is an act of unconscionable, unpardonable, selfishness. I could almost convince myself that your genius crossing over into madness was the explanation for your lack of output, but you seem craftily able to sic your lawyers on anyone perceived to encroach on your goddamned "privacy".So, while I can understand the impulse of not wanting to risk your reputation, I sure as hell can't forgive it. You were granted an incredible gift. You should be using it.And, sorry folks, it's far beyond me to locate exactly where the genius lies in the particular stories mentioned. You really just need to read them for yourselves.

  • Ahmad Sharabiani
    2018-12-11 05:31

    Nine Stories = A Perfect Day for Bananafish (1948), Uncle Wiggily in Connecticut (1948), Just Before the War with the Eskimos (1948), The Laughing Man (1949), Down at the Dinghy (1949), For Esmé – with Love and Squalor (1950), Pretty Mouth and Green My Eyes (1951), De Daumier-Smith's Blue Period (1952), Teddy (1953), J.D. Salinger, Ahmad Golshiri (Translator)عنوانها: دلتنگی‌های نقاش خیابان چهل و هشتم (نه داستان)؛ نه داستان؛ نویسنده: جی.دی. سالینجر (سلینجر)؛ تاریخ نخستین خوانش: ماه سپتامبر سال 1998 میلادیعنوان: دلتنگی‌های نقاش خیابان چهل و هشتم (نه داستان)؛ نویسنده: جی.دی. سالینجر (سلینجر)؛ مترجم: احمد گلشیری؛ تهران، پاپیروس، 1364؛ در 263 ص؛ چاپ دیگر: تهران، ققنوس، 1377؛ چاپ سوم 1380؛ چهارم 1381؛ پنجم 1382؛ هفتم 1385؛ نهم 1386؛ دهم 1387؛ یازدهم 1388؛ دوازدهم 1389؛ شابک: 9789643111564؛ موضوع: داستانهای کوتاه از نویسندگان امریکایی - قرن 20 معنولن: نه داستان؛ نویسنده: جی.دی. سالینجر (سلینجر)؛ مترجم: آسیه شهبازی؛ تهران، آوای مکتوب، 1394؛ در 224 ص؛ شابک: 9786007364246؛ موضوع: داستانهای کوتاه از نویسندگان امریکایی - قرن 20 مدلتنگی‌های نقاش خیابان چهل و هشتم، یا «نه داستان» در عنوان انگلیسی کتاب؛ نام مجموعه ای اثر: جروم دیوید سلینجر، و شامل نه داستان کوتاه است. عنوان اصلی کتاب یا همان «نه داستان» به «دلتنگی‌های نقاش خیابان چهل و هشتم» تغییر داده شده است. عنوان داستانهای کوتاه مجموعه به ترتیب عبارتند از: یک روز خوش برای موز ماهی، عمو ویگیلی در کانه تی کت، پیش از جنگ با اسکیموها، مرد خندان، انعکاس آفتاب بر تخته های بارانداز، تقدیم به ازمه با عشق و نکبت، دهانم زیبا و چشمانم سبز، دلتنگی های نقاش خیابان چهل و هشتم، و «تدی». برای نخستین بار با ترجمه ی: احمد گلشیری، در سال 1364 هجری خورشیدی و توسط انتشارات ققنوس، به چاپ رسید. سپس در سال 1381 هجری خورشیدی برای بار چهارم و سالهای بعد نیز بارها تجدید چاپ شد. ا. شربیانی

  • Fatima
    2018-12-08 07:40

    قبلا ناتور دشت رو خونده بودم و حالم از شخصیت هولدن بهم خورده بود و با خودم عهد کرده بودم دیگه دنبال کتاب هایی از این نویسنده نرم که اصولا جو گیرها توی وبلاگ هاشون با آب و تاب میگن عالیه ! هرچند دوباره تحت تاثیر جو این کتاب رو شروع کردم و اوایلش به خودم میگفتم که باز وقتت با یه کتاب نامناسب حروم شد ؛ اما با خوندن چندتا داستان دیگه تازه دستم اومد سلینجر سبکش چطوریه و یک حالت سوییچ بین کودکی و بزرگسالی سر تا سر داستان هاش به چشم میخورد حالا یا به صورت محسوس یا نا محسوس . داستان های "تقدیم به ازمه با عشق و نکبت" و "دلتنگی های نقاش خیابان چهل و هشتم" و "تدی" ! خصوصا داستان "تدی" مورد علاقه ی من بود ... خود داستان تدی به اندازه کافی ارزش تک خونده شدن رو داره و مفاهیمش و گنجوندن بزرگی یک روح در یک کودک ده ساله توسط سلینجر برام خیلی جالب بود و نظرم در مورد این نویسنده حالا کمی بهتره ، امیدوارم اگر باز کتابی ازش به دستم رسید این نظر تقریبا مثبتم پس رفت نکنه بلکه از طرفدارهاش هم بشم ، البته امیدوارم ...

  • Paul Bryant
    2018-12-06 09:50

    If kidnappers had snatched up J D Salinger some time in the early 1970s, driven like madmen through the night and the next day too and imprisoned him in a small but pleasant room somewhere near Boise, furnished him with with all mod cons, and told him he wasn't going anyplace soon until he'd finished at the very least another nine stories, and at best three or four complete novels; and if the kidnappers - due to an endearing cocktail of naivete and compassion (because you know they were just literature fans like you and me, not blank-eyed killers, and they weren't entirely convinced about this whole caper to begin with let it be said) let JD go for long walks (to get inspiration, but really to beat on a nearby farmhouse door and call the cops); and if they were then rounded up (not too hard, said the cops) and put on trial - not a jury in the land would have convicted them. When the prosecution rested and the defence opened, their lawyer would simply have issued a copy of Nine Stories to all 12 jurors and said "Ladies and gentlemen, I rest my case."This is not to say that each of the Nine is such a great golden glowing nugget of controlled power, insight and wisdom (some are) but that the whole is such eloquent proof of the perspicacity, intelligence and all-round humanbeingness of JDS that reading this collection is very bittersweet - how lovely it all is, and how very little of it there is, when duller, pudgier-fingered writers type on, and on, and publish, and publish. Anyone who has encountered comments by myself on Ye Olde Catcher in Ye Rye will now accuse me of inconsistency, or at least, be expecting me to accuse JDS of the same. How can I hate the novel for its unbearable whine and Johnny-one-note somebody-shut-him-up-please tiresomeness and yet enjoy all the rest of JDS as I do? They're cut from the same cloth, it's not like Picasso's blue period and Picasso the cubist which could have been different guys, or the Velvet Underground's first and third albums which could have been a different band. But I've come across this in different areas of the universe - can't stand Tom Waits until Swordfishtrombones, think he's a genius for three albums, then can't stand him again. Shakespeare's tragedies - oui! Shakespeare's comedies - er, non! So maybe not that unusual.JDS famously published all his stuff between 1951 and 1963 and then STOPPED. (Which is why the kidnappers pounced, they gave him a good ten year rest and that was ENOUGH to their way of thinking.) And he stopped just as things were getting really interesting. He writes of the murderous conformities of American educated middle-class life and of the outcasts and especially young kids who either subvert this button-down world or bail out swiftly. Just as he stopped publishing things began to change. the 60s began swinging, and the youthquake (as it has been termed) was upon us. Just the very stuff that you might have thought would have fascinated JD. What do the kids do when they try to make their own rules up? I feel the absence of JDS throughout the 60s and 70s, as i feel the absence of another American writer who STOPPED in 1963, Sylvia Plath. I want to know what these two clever clogs would have made of the tumultuous ten years which followed the self-stilling of their voices. But back to the Nine Stories - and to steal a fellow reviewer's catch-phrase:Is it a classic? Answer : Yes. Goddamn!PS : I realise I also speculated upon the advisability of kidnapping Thomas Bernhard elsewhere but that was to save the world from any further novels like Extinction, whereas the JD Salinger kidnap is for the opposite reason. But I would like to publicly state that I do not condone the imprisonment of any writers for any reasons, so please don't try this at home.

  • Rolls
    2018-11-30 10:53

    Salinger's "Nine Stories" should be renamed "How to Write Short Stories." While many hold up "Catcher in the Rye" as the zenith of his achievements for me it will always be this wistful and brave little book. I re-read it two or three times or year. I love it that much. To be honest out of the nine stories collected here I would say that only a third are Salinger's best. "Perfect Day for Banafish," "For Esme - With Love and Squalor," and "The Laughing Man" are to me the peaks of short fiction. Everything that Salinger does best he does in these three tales. Nobody wrote children better than him. They leap off the page at you right into your lap. Esme, her brother, Seymour's little friend and the narrator of "Laughing Man" are so vivid and real you feel like running them all down the street for ice cream and cake. They are that true to life. Same goes for Seymour in "Banana Fish" and the narrator of "For Esme." Nobody got into the heads of brilliant but troubled young people better than Salinger. What we hear about Seymour as opposed to what we see creates a palpable (and beautiful)tension. The narrator of "For Esme"'s war inflicted emotional problems are drawn with such artistry as to flood over you as you read. "Uncle Wiggly in Connecticut," "Daumier-Smith's Blue Period," and "War with the Eskimos" to me fall into the "damn entertaining but not great" category. These stories are beautifully observed, funny, poignant and always a pleasure to read but lack that magic the first three have to spare. Of course that being said even being good but not great Salinger makes them better than most.Finally "Teddy," "Down in the Dinghy" and "Pretty Mouth Green My Eyes" are good stories but I feel they suffer from being collected in the same book as the others. Each alone is enthralling but not a one of them is a patch on "Esme," or "Bananafish." Where the other stories feel like a full meal these come off more like snacks. Tasty but not quite filling.If you like Salinger and want to read something by him that won't make you want to shoot a president or a sixties rock star this my friend is the book for you.

  • Kenny
    2018-12-08 08:46

    “Each of his phrases was rather like a little ancient island, inundated by a miniature sea of whiskey.”Oh J.D., why couldn’t you have published more of these amazing stories in your life time???Nine Stories -- a collection of brilliant short stories from J.D. Salinger. It is in this collection where the Glass family, the main constituents of Franny and Zooey, is first introduced. In the next eight stories, we meet and get to know characters with an assortment of mental and physical ailments, and self-discoveries.This is my second journey with Salinger after Franny and Zooey. My favorites here are To Esme – With Love and Squalor, The Laughing Man, De Daumier-Smith’s Blue Period, and Teddy. A shared thread through all nine stories is the mood of desperation, of frustration, and of higgledy-piggledy identities. The characters are very real; these are real people with real issues starting to overspill into their everyday lives.These stories haunted me. I found To Esme – With Love and Squalor a story about the effects of war on an individual stayed with me for days. It’s so simply written, and yet, packs so much emotion and observation on the state of war and the mental and physical drain it can take on one person. From the one line note about a twitch on the face, to a shaky hand, the subtle differences from the first half of the story to the second half create an overall dreadful vision.What is De Daumier-Smith’s Blue Period -- loneliness, isolation, misrepresentation, reinvention, escape, connection? Who is Jean De Daumier-Smith -- we never really know since this the name the narrator calls himself. The fact that we never know Jean’s real name is significant; it serves to highlight the idea of misrepresentation and reinvention. Jean appears to be uncomfortable with who he is and by changing his name Salinger allows Jean to reinvent himself. The trigger for Jean wishing to reinvent himself stems from the loneliness and isolation that he feels possibly due to his mother’s death. By reinventing himself, Jean is able to escape from the painful realities of the world around him. We, all of us, can relate.This collection of stories should be read over and over again. When I next read these stories I’ll discover something new about one of the characters or catch a new allusion or reference. What insights will I glean about the Glass family?I could go on forever about the themes here. I could write pages about these people. I wonder where Esme is now. What will become of Teddy? Does the Chief find love and is he actually The Laughing Man? It's what's left unsaid here that really intrigues. Words may go unuttered, but still one hopes ...

  • Pantelis
    2018-11-27 04:48

    Published in 1948, 3 years before The Catcher in the Rye, A Perfect Day for Bananafish is the scariest and bleakest short story I know. World War 2 did to Salinger what World War 1 did to Celine and suicidal Seymour's ghost haunts all of Salinger's subsequent works, what we have read and certainly what remains to be read. Everything he read is interconnected, a hall of mirrors (magic mirrors), a labyrinth, and Seymour is both Asterion and the guest-star from Athens...

  • Chloe
    2018-12-04 08:44

    I was sitting at my cube farm today, moving numbers from one spreadsheet to another, cursing the internet tracking that keeps me from daytime Goodreading and daydreaming of pixies and unicorns when I received an email from my wife that utterly rocked my world. ":( Salinger's dead," read the short missive, and with that my world grew a little more gray. Normally news of celebrity death does little but placate my immense Schadenfreude, but Salinger's death is a serious blow to me and I feel compelled to emote all over my computer screen (don't worry, I have tissues).Who remembers the moment when they first fell passionately in love with reading? I'm not talking about when you realized that reading was enjoyable, or a good distraction from your family, or a great way to spend a sunny day in the park. I'm talking about when you realized that this was it: life could throw anything at you and, as long as you had reading, you could cope and move on. That rather than simply entertaining, your world could be expanded and fleshed out by what you glean through a page- that this great human fuck-up can best be understood by placing yourself within the head of strangers and seeing the world through their eyes for a time.I can chart the exact instant this thought struck me- when I first finished reading Salinger's Nine Stories, particularly the utterly heart-breaking "A Perfect Day for Bananafish." To this day this book is still my favorite of his limited oeuvre and a surefire contender for Top 5 favorites of all time. While he is deservedly renowned for Holden Caulfield's teen angst, it is the subtle pathos of Nine Stories that marks him as an author without equal. The alienated Seymour Glass, who I always pictured as a stand-in for Salinger himself, and his tragic inability to connect with anyone but young children. The prescient Teddy, whose thinly-veiled Buddhism came years before the Beats began reading Suzuki. Esme, Charles and the damaged Sergeant X- all three of whom I feel an unceasing tenderness for. The idolized Chief and the heartbreak of Mary Hudson. All of these stories I can return to again and again, myself changed by the passing of time, and find something new and rewarding to take from them. Whether it is his absolutely perfect dialogue (I know of no other author who so accurately captures the rhythm and cadence of speech), his impulse (need?) to include a death in nearly all of his stories as if to remind us that even imaginary friends can get hit by buses, his endless attempts to put into words the passive disconnection from the rest of humankind that we all, at one point or other, feel overwhelmed by. There is more literary merit in this slim volume than the whole New York Times bestseller list.I've often harbored the dream of hanging out in Salinger's tiny New Hampshire village and somehow attracting the eye of the reclusive author- carrying groceries across the street or some such menial chore. We would get to talking and he would offer to read some of my meager works and, wonder of wonders, offer a few words of advice. You know, Daydreaming 101. Sadly this will never be. If there is a bright side to this tragic passing, it is that hopefully he’s been writing feverishly for the past 60 years and his estate will begin posthumously publishing. This is the only real kind of immortality available, and hopefully Salinger's words will be read for centuries to come.

  • F
    2018-11-26 12:46

    I worked through this book slowly. One story every few days because thats all i could handle. I found this a really boring read. Didnt enjoy any of the short stories and didnt enjoy getting to know the characters in any. Seemed to have a theme of varied wealthy people in solitude in someway or another. Not for me :(

  • Mariel
    2018-12-18 04:28

    It has been a long time since I read Nine Stories. For once I don't care about getting older. This wasn't about that. So I started rereading Nine Stories in my car on my work lunch breaks. Getting through the day necessities stuff. I really needed an old friend. I was at a loss in a bad depths of despair kinda way that I cannot put in a meaningful way that will mean shit to anyone else. I remembered Nine Stories was good to me. I'm in no mood for anything more than that. Friends.This probably won't make any sense to people who don't struggle with stupidity. There's a sick cloud feeling in my head that I get when I try to understand math, or something like that that requires logical thought. I never read instructions, either. I've been feeling this sick, cloudy feeling of anxious stupidity for no math related reasons. Just in general. It really sucks. So Salinger is my breath of fresh air from that feeling. I find I don't want to read anything but short stories right now.And other feelings... (I have a feeling I've mentioned this elsewhere on goodreads. Oh well.) When I was a kid (four?) I read this Peanuts comic strip. Charlie Brown was struggling to explain his mixed up feelings of being sad, happy, angry, all those free-range emotions, all at one time. I quoted that to my family to try to explain how I was feeling. They laughed their asses off. I slunk off to mood all by myself. It's really not about getting older. I'm still doing that. I've never found a better way than Charlie to explain that stuff. All of my moods are Peanuts broods... Anyway. Those feelings led to my reread. I needed them all. (You already wrote a review intro, Mariel. I can have more than one! Picking books is serious business! All at once!) I remembered four of the nine stories well, the rest not at all. Shit. This throws new light on the ethics of my memory and reviewing books I read a long time ago. It's not a comfortable feeling. (Not that I won't still do it.) I'll include my old thoughts if I remember any.A Perfect Day for Bananafish:Confession: I totally got into J.D. Salinger because of Robert Smith of The Cure. (According to youtube, there is a band named Bananafishbones.) Bananafishbones - The CureI did remember this story. Of course I did. Old Mariel thoughts: This Muriel girl sucks. (I'm interested in all literary Mariels, Muriels, d other avariations on that theme. I draw the line at Mary. Mary-Ellens need not apply either. Who has the time?)I don't remember my old thoughts well enough. Did I relate to Seymour more? I think I relate to him more now just because I remember that old me had a massive inferiority complex when it came to precocious kids. Not that I enjoy the company of three year old girls (I've spent enough time in the company of ones related to me). Now? She wasn't all that precocious. Seymour is the permanently precocious. My ex once told me that kids stared at me because they sensed that I was one of them. I don't like him for saying that. I know too well the feeling of talking to people who respond as Seymour and Buddy do to their young girl friends. I get exactly those kinds of responses. It actually feels really lonely.This wasn't what was in my head while I was rereading in my car. What is special about the precocious? The ability to surprise. It isn't lack of artifice, or knowing rules. That simply isn't true. (The little girl reminded me of mind games that older girls would play on a boyfriend with her jealousy of the younger girl he was friends with.)It isn't good, the preoccupation with what other people notice. I don't want to think about relating to Seymour being offended when he thought the girl in the car was looking at his feet.I've said it all before about this thing about strangers. The great things about kids is that they are all strangers. There's something about talking to strangers who don't know all other threads to heap onto everything else to the point they can't listen to the point of what you're feeling. Maybe I don't really want to talk about suicide on goodreads. It has been in my life. There's a part of my brain that splits: 1. The person who dies. It's not up to me. Why would anyone want to go on living if they CAN'T go on living? 2. The people left behind. I've almost been them. I don't want to be them. That stuff I wrote earlier about threads... It's too much. This time... I was only feeling Seymour side. It's that kinda story.I didn't feel less lonely reading this one. I'm not sure what I felt except... I don't know. There's a time when leading someone else to look at bananafish isn't enough, when raising yourself isn't enough. Potential for what, anyway? Ruh roh, Raggy. If they are all this long this is gonna be a long ass review... Uncle Wiggily in ConnecticutConfession: I can't spell Connecticut without cheating.I didn't have invisible friends. I made friends out of inanimate objects. I've never really and truly stopped doing that. To myself I describe it as my Tom Hanks in Castaway with Wilson the Volley Ball moments. I'll stop ever doing it when I don't feel like that. Castawayed.I loved it when Jimmy gets killed and the little girl immediately replaces him with a new best friend. When a little kid I maimed my paper Care Bear doll (cut his leg off) and then couldn't stop crying over the loss of his leg (with vows of never hurting him again). I feel an affinity with Ramona. I'm sure she killed him for the tragedy of it all. (Or it really was the dog's fault.)I had a depressing feeling off this one. Maybe I get this from other Salinger females, like their good times end when they pretend not to be young anymore? I loved it when the mom, Eloise, wants reassurement of her past from her college friend, Mary Jane. What is the fun in being a dinner party person, anyway? Cocktails, dinner parties: same difference.Just Before the War with the Eskimos:No confessions. (I'm not admitting to once writing a really bad story about an eskimo.)I found reassuring so much the details like Selena coming back in a dress when she had been wearing shorts. (Even if it didn't annoy Ginnie as it normally would have.) I'd have been steamed. I hate waiting. I hate waiting soooo much. I hate it when people know you are waiting and run errands and shit. It gives me a sick and frustrated feeling. Anyway.I hope Ginnie will appreciate others noticing the interesting details, and how they put them, in more worthier people than Selena, her brother or his friend. What a shame. Younger me probably felt sad that she crushed on a guy who liked her (probably) prettier and more socially at ease sister. I probably also noted that Eric spoke like someone Holden would find annoying (his "grand" and all). I've always wanted to save people in stories from uninteresting characters. "You can do better!"P.s. The Eskimos will go after the French first. Maybe they don't wanna be named after a dessert cake any longer.The Laughing Man:Confession: Talk of athetlics of any kind usually make my eyes glaze over. I admit to having an "Oh fuck" moment. I'm a jerk.I loved this story. I feel so much impatience with stories about beautiful people. It means fuck all to me to read the word beautiful. In this story the Chief and his Mary Hudson are beautiful like heroes of memory, and of stories. I feel embarrassed trying to describe this. I loved the Laughing Man stories that he told the kids. You know what? I haven't done a list in ages.Coolest bus drivers:1. Chief2. Bus-Driver Stu from The Adventures of Pete and Pete3. Otto from The SimpsonsIt occurs to me now that Bus-Driver Stu holding the kids hostage to his relationship problems might've been a nod to this story. Awesome. Pete and Pete makes me happy like almost nothing else does. It's like ideals like how The Laughing Man does beauty. Not definitions, just living as day to day without reading the rules first. I suck at describing this. If I were them I'd never forget those stories either.Down at the Dinghy:My confessions are embarrassing. I'm not gonna tell the story of when I tried to run away. It's not a nice story like this one.I didn't remember this story despite once naming a bird I took care of after Boo Boo.It must be great to have a mom like Boo Boo. For Esme- with Love and Squalor:I liked this story much more as an adult than I did as a teenager. I was too close in age to Esme, perhaps. I was probably jealous of Esme because she was so smart for her age (I may as well confess that smart kids make me feel really bad about being a dumb adult). No poise either. But that doesn't matter at all. Old me! It was so sweet the way the brother and sister were with each other. How Esme missed her father (she was likely jealous of her mama so I wasn't that unusual as a teen, I guess)... Anyway, it made me happy how happy Buddy is to have his letter. I'm glad that he wrote his story and engaged more than his brother did with his girl friends. Friendships should be more than something the other cannot understand.Pretty Mouth and Green My Eyes:I am losing steam with this one. I felt bad for Arthur... but I didn't want to spend time in their marriage problems. It makes me uncomfortable to hear about them. There's nothing I can do for them. You know?I did read that PJ Harvey made a nod to this story title in her song Angelene. This is one of my all-time favorite Peejay songs. Thanks, wikipedia trivia! De Daumier-Smith's Blue Period:"The fact is always obvious much too late, but the most singular difference between happiness and joy is that happiness is a solid and joy a liquid."I feel disconnected with much of this story, as with 'Pretty Mouth'. Blame my desperate impatientness for something... Maybe I want a life affirming day that beats any bananafish day, or anything. Something more sustaining. What the hell is gonna happen next? Teddy:Teddy is right. It isn't so good that way, loving for the sake of loving. Sighs. But I do think too much. I wonder how Seymour would like talking to Teddy. He'd meditate and not give practiced answers, for sure. No pet nothing. Number two reasons this time. The little girl... Number one too. It's complicated.It did help. I'll always need more. I think, though, that Salinger didn't owe anybody to publish anything. (I'll always need more. That's exhausting.) Not any more than Seymour did with what he put out. I guess it's not always a perfect day for bananafish. I'm so glad these were published, though. I needed them like Buddy. It's not all a smile. I've already said that lame-o stuff about my Peanuts emotions. That's the best I've got. I wish I had better. Number one and number two reasons.

  • Reckoner
    2018-11-26 12:44

    Αν θελήσεις ποτέ να γράψεις διηγήματα, να ξέρεις οτι δε θα το κάνεις ποτέ τοσο καλά οσο ο Σάλιντζερ.

  • Helle
    2018-11-27 04:29

    A slightly mixed bag of stories with some gems among them, notably A Perfect Day for Bananafish and, especially, Teddy. All the stories, even when I didn’t love them, had small moments of either brilliance or craziness. And Salinger was a master of the quirky, zany dialogue full of 50s slang, non sequiturs and sarcastic repartees. There were laugh-out-loud moments, there were bizarre moments where I had no idea what he was on about, there was hyperbole galore, and there was much of the 1940s swagger that I first met (and loved) in The Catcher in the Rye. Once or twice I suspected the narrator was more or less unreliable, and this, too, of course (viz. to some extent Holden) Salinger masters. A few choice excerpts:From ‘A Perfect Day for Bananafish’:She was a girl who for a ringing phone dropped exactly nothing. She looked as if her phone had been ringing continually ever since she had reached puberty.From ‘Just before the War with the Eskimos’:He was staring down, with his slack mouth ajar, at his injured finger. ‘What?’ he said.‘How did you cut it?’‘Goddam if I know’, he said, his inflection implying that the answer to that question was hopelessly obscure. ‘I was lookin’ for something in the goddam wastebasket and it was fulla razor blades.’‘You Selena’s brother?’ Ginnie asked.‘Yeah, Christ, I’m bleedin’ to death. Stick around. I may need a goddam transfusion.’From ‘Teddy’:Mr. McArdle played leading roles on no fewer than three daytime radio serials when he was in New York, and he had what might be called a third-class leading man’s speaking voice: narcissistically deep and resonant, functionally prepared at a moment’s notice to out-male anyone in the same room with it, if necessary even a small boy.A comment by precocious Teddy himself (about his parents):I mean they don’t seem able to love us just the way we are. They don’t seem able to love us unless they can keep changing us a little bit. They love their reasons for loving us almost as much as they love us, and most of the time more.And then of course, there’s the fantastically titled ‘For Esmé – with Love and Squalor’, which has a number of marvelous lexical misunderstandings.Recommended for people who like Salinger and short stories.

  • Jeanette
    2018-12-10 10:42

    This is one of "those" books. The ones where I turn the final page and sigh and wonder how I can convince other people that it's worth reading. Consider this: There are 30,520 ratings for this book here on Good Reads. The average of all those ratings is 4.18. Nothing I could say would be more convincing than that. Read it and marvel. My two favorite stories are For Esme--With Love and Squalor, and Down at the Dinghy. I think I liked these best because I love the way Salinger writes about children. Tender and charming without ever being cutesy. I fell in love with the precocious Esme within the space of a few pages. I wanted a whole book about her! Down at the Dinghy features a sensitive little boy in self-exile on the family dinghy, and the way his mother gently coaxes him to come back up to the house. This is Salinger's true genius---creating perfect word pictures of ordinary events. Nine Stories should be required study for every creative writing program. An unpretentious, seemingly effortless, utterly original voice. If I could write just ONE story comparable to these, I'd be so puffed up with pride I'd bust right outta my corset!NB: The first story, A Perfect Day for Bananafish, can be quite jarring if you're not familiar with the Glass family featured in the novel Franny and Zooey. Seymour is the eldest child of that family, and always referred to in the past tense or at a remove in Salinger's other works. This is your one chance to see him while he's still alive. His sweet, gentle nuttiness with the little girl on the beach is especially touching.

  • Ginny_1807
    2018-11-28 04:52

    Quando ho iniziato questo libro, attratta dalle numerose recensioni entusiastiche, le mie aspettative erano piuttosto elevate, ma mai mi sarei aspettata una simile incantevole suggestiva prodigiosa opera d'arte. I nove racconti sono, nessuno escluso, tra i più belli e stilisticamente perfetti che abbia mai letto, e ciò anche per merito della eccellente traduzione di Carlo Fruttero, che ne sottolinea la ricchezza linguistica esaltandone la pregevole fattura. Si intuisce, a monte di questa prosa essenziale, vivida e incisiva, un lavoro di lima meticoloso, per non dire maniacale; così che ogni costruzione sintattica e ogni scelta lessicale divengano perfettamente funzionali alle esigenze espressive e alla poetica programmatica dell'autore. Chiunque si cimenti nel campo letterario dovrebbero fare proprio questo procedimento compositivo, per evitare inconcludenti lungaggini descrittive, sommarie esposizioni di eventi senza capo né coda, o elementari pretenziosi svolazzi lirici, che denunciano la più assoluta mancanza di talento. ​Salinger invece di talento ne ha a profusione: descrive nei minimi dettagli l'aspetto e i gesti dei suoi personaggi, ne riproduce le conversazioni tramite dialoghi espressivi, realistici e per nulla generici, ma soprattutto riesce a rendere il lettore non un mero spettatore esterno ed estraneo ai fatti e agli stati d'animo, ma quasi un protagonista tra i protagonisti, emotivamente coinvolto e partecipe in prima persona.A fronte di una contestualizzazione tanto accurata, sorprende il finale che lo scrittore riserva alle singole storie: qualcosa di sospeso, di aperto a interpretazioni diverse, di appena delineato e non detto, doloroso, inquietante, acre, commovente, spiazzante. Tutto ciò mi ha richiamato alla mente, per associazione di idee, gli esiti poetici del contrasto tra finito e non finito nell'opera di Michelangelo scultore. Per Michelangelo la forma, la figura scultorea, è già racchiusa, come imprigionata, nella materia informe, ossia nel blocco di marmo; per portarla alla luce occorre un processo di sottrazione, che consiste nel "levare il soverchio", la pietra in eccesso, fino, talora, alla levigatura più esasperata che cattura e rifrange la luce. Pura fisicità.Schiavo detto Atlante - Firenze, Galleria dell'AccademiaIn alcune sculture, specie dell'età più matura, l'artista sceglie però di lasciare alcune parti, più o meno estese, appena sbozzate, ruvide e come graffiate dallo scalpello, utilizzando il non finito come strumento tecnico espressivo volto a sottolineare i concetti che ispirano il suo genio compositivo: la tensione eroica verso il bello, l'assoluto, l'infinito; il conflitto tra corpo e spirito, tra la vita e la morte; e, più in generale, ad esprimere l'inesprimibile: ciò che nessun linguaggio appare adeguato a chiarire o concretizzare.Pietà Rondanini, 1552-64, Milano, Castello SforzescoLo stesso sembra fare Salinger, che con la parola definita e levigata libera la pura fisicità dei suoi personaggi dalla prigionia del silenzio, ma attraverso il suo particolare non finito/non detto tralascia di spiegare l'inspiegabile, ossia lo spirito, l'interiorità, i sentimenti, le paure, i rimpianti, le pulsioni più intime e segrete dell'animo umano. E, come deve essere, lascia al lettore la decodificazione del messaggio, utilizzando gli strumenti della sua personale sensibilità ed esperienza.Ciascun racconto compreso nella raccolta è un piccolo scenario che si apre su un mondo, una storia e molte vite, compresa quella di chi legge.Straordinaria esperienza.

  • Tristan
    2018-12-16 05:29

    Not being too fond of Salinger’s Catcher in the Rye – and having, in fact, a vivid recollection of me chucking it after about a 100 pages into a far-flung, dusty corner out of sheer tedium in high school (reading assignments are hemlock for stubborn minds) - I wasn’t particularly looking forward to his short story collection. Would it just be an assortment of variations on Holden Caulfield? I feared the worst. Boy was I happy to be proven wrong. Talk about rising to low expectations, huh? How I wish now that the scholastic "authorities" had assigned us this instead of that boorish novel. In that case, I wouldn't have had to look up an online summary to pass my bloody test. In fact, I might have even been stupid enough to found a hipsterish J.D. Salinger worship cult. A missed opportunity, I tell ya! These subtle tales are replete with memorable, flawed, authentic (non-irritating!) characters one can invest in. Clear highlights are A Perfect Day for Bananafish and especially the poignant, immensely moving For Esmé – With Love and Squalor, but they are all fine examples of quality writing. Not a dud in the bunch.Turning the last page, it is hard not to feel a pang of sadness, of irretrievable loss. One wishes Salinger had foregone the infamous reclusiveness that beset his last 45 years and had written more of these. What masterpieces the world has missed out on as a result can only be guessed at.

  • Gypsy
    2018-12-05 12:57

    نمدونم ترجمه یه نارسایی‌هایی داشت واقعاً یا نه، ولی ویرایشش یه‌‌کم اعصابمو خرد می‌کرد. کتابی که اینقد تجدید چاپ شده اونم. سلینجر اونم. داستان‌کوتاهاش اونم. سلینجر برا من یه جورایی مث دوا شده. هرازگاهی باید یه چیزی ازش بخونم که دوباره ریکاوری بشم. چندتا از داستان‌های این مجموعه رو قبلاً هم خونده بودم(مثل یک روز خوش برای موز ماهی و دهانم فلان و چشمانم چنان :همر: خدایی چه مناسبتی داشت این اسم من نفهمیدم!) و کلاً دوست داشتم. بازم اینو خواهم خوند. ولی نه اینطور پشت سر هم. هر داستانو دیگه می‌کشه می‌رم می‌خونم. مثلاً تدی رو می‌دونم دیری نمی‌گذره که می‌رم باز می‌خونم. عجب فضایی داشت.

  • Hugo
    2018-12-03 09:30

    Um dia ideal para o peixe-banana - ★★★★★Pai torcido no Connecticut - ★★★★Pouco antes da guerra com os esquimós - ★★★O homem que ri - ★★★★★Em baixo no bote - ★★★Para Esmé — com amor e sordidez - ★★★★★Linda boca e verdes meus olhos - ★★★★★A fase azul de De Daumier-Smith - ★★★★★Teddy - ★★★★★Contos que não acabam com a última página. Apetece-me ler tudo de novo e conjecturar mais um pouco.

  • M.rmt
    2018-11-22 09:37

    شخصیت پردازی و فضا سازی واقعا محشر بود...با اینکه داستان کوتاه بود راحت میشد شخصیت ها و کاراکترها رو مجسم کرد.که بیشترشون هم انسان های خاص و درونگرا با عقاید عجیب و گاها عمیق بودن.از داستان تدی،دلتنگی های نقاش خیابان48 و مرد خندان و تقدیم به ازمه با عشق و نفرت بیشتر خوشم اومد.

  • Ben
    2018-12-05 05:51

    Most of these stories make a statement (or two, or more) about how our past, and our interactions with each other, affect our lives. I had this feel that in some way, the stories represented our disconnections from one another, from reality, and from full knowledge; the slippery grasp we have of our perceptions, and our tendency to judge too quickly. Salinger often gets this across through arresting dialogue among individuals, typically with at least one of the individuals in some way being "different" from your "normal" standards. Entering the inner world of a Salinger character is an experience everyone should have. His children are the best I’ve experienced; as are his hard-edged, outcast characters -- you know the type: they chain smoke, say “goddamn” a lot, and have a sharp, smartass tongue that bespeaks toughness. Yet it gets revealed that they’ve been hurt in some way in the past, and that they have a soft spot inside. Salinger shows this in some beautiful ways and eventually, by the end of the story, you see a special side to these people. Characters that at first seemed ridiculous and entertaining end up making you see something in them. Yes they’re faltered and off, but they’re also special, and you see that their reality may in fact be superior to yours.. at least in some ways. Isn’t that true of children, in general? That they see the world in specifically different ways from us adults? And aren't some of these paradigms innocent, beautiful, and pure? Or maybe it's exactly because they don't have a paradigm, that this is the case. While we can't escape from all of our preconceived notions, they are free from them. Even some of Salinger’s non-children characters have this element to their personality.A lot of the endings to these stories are phenomenal. They always contain a surprise, sometimes with room for broad interpretation; typically making you think and reflect. Yet there’s still a feeling of mystery; of not knowing the full story. Through these endings your interpretation of what you had read, changes; the way you saw the story shifts, often resulting in quick, new perceptions and “aha!” moments. And, if your experience is like mine, you then continue to reflect and question your perceptions of the story further.I couldn’t quite give this five stars. Some of the stories, such as Just Before the War with the Eskimos and Down at the Dinghy didn’t flow enough for me, and ended up lacking in either coherence or emotional pull. (By the way, my star ratings per story are in the picture above, just to the left of each story listed. You can change Teddy from a 4.5 to a 5, too. It started as a 4; I thought about it more, and gave it a 4.5; then today, I thought about it even more and have decided that it’s a 5. That’s what some of these stories can do to you: They really get you thinking.)The other Salinger I’ve read is The Catcher and the Rye, which I’ve read twice and enjoy, but come up short of loving. After reading this I can further see how Salinger has a following that loves him. His characters are unusual and intriguing, and his way of viewing the world is special and ingenious. This is a book you should get a hold of.

  • Ubik 2.0
    2018-12-16 06:55

    La vita è un caval donatoNon starò a ripetere il solito mea culpa sulla narrativa breve, trascurata e subordinata ai romanzi, ritenuti a lungo non solo la migliore ma l’esclusiva forma letteraria degna di nota.Poi mi sono imbattuto in Wallace e Carver, Saunders e la Munro ed altri ancora e le eccezioni sono diventate regola, ma ciò non mi ha impedito di stupirmi di fronte a questa ennesima dimostrazione, firmata J.D.Salinger, della sottile malìa del racconto e delle sue pressoché infinite potenzialità allusive.Nel merito, cosa posso dire di questa eccellente raccolta, tanto scarna nel titolo quanto ricca nelle nove direzioni in cui l’arte del narrare si spinge, una raccolta della quale tutto è stato già analizzato? Mi limito a citare i due aspetti che hanno maggiormente colpito la mia attenzione. Il primo è la grande pregnanza dei dialoghi: quasi tutti i racconti sono costruiti con una precisione chirurgica improntata soprattutto all’arte del dialogo; da qualche parte ho sentito usare per questi racconti l’aggettivo “radiofonici” e penso che la definizione sia calzante perché sembrano davvero costruiti per essere recitati in dialogo, una voce a fare da contrappunto all’altra con uno straordinario effetto musicale, talora dissonante ma sempre teso ad un significato superiore che, a sorpresa, si coglie (o così sembra) via via che il racconto procede o addirittura alla fine, in una visione retrospettiva che induce alla rilettura.Il secondo elemento, che pur a distanza di decenni mi riporta alla fulminante e decisiva lettura di “Il giovane Holden” (sì, sono uno di quelli…), è la capacità di dare voce, carattere, personalità ai bambini, cosa tutt’altro che facile e scontata se si pensa quante volte abbiamo incontrato nei romanzi o nei film bambini petulanti, improbabili, sdolcinati, in una parola insopportabili! Qui invece la voce dei bambini è resa con delicata appropriatezza, lasciando sì uno stridore insito nell’età acerba della vocina ma sublimandone l’effetto con una grande delicatezza, sorprendente se si pensa al leggendario caratteraccio dell’autore…

  • Sara
    2018-11-19 12:35

    Reading this short story collection helps me to understand why Salinger was hounded to the ends of the earth in an effort to make him write again. His characters are so poignant and so real; his children so precocious and on the brink of something wholly indefinable. I bought the book with a desire to revisit For Esme - With Love And Squalor and found it as captivating and moving as I had remembered, but the unexpected treasures of The Laughing Man and Teddy left me breathless. Salinger knows complete sorry, desperation and irony when he finds it. As we peep into the world of his characters, who smoke their endless cigarettes, carry on their conversations of double meaning, and attempt to connect with others, we cannot help nodding in recognition of the knowledge that this is a microcosm of the human condition.

  • Fernando
    2018-12-17 06:43

    Nunca había leído nada de J.D. Salinger, es por ello que decidí comprarme este libro de cuentos, que es uno de sus tres títulos principales, junto con el aclamado “El Guardián entre el Centeno” y “Franny and Zooey”. Respecto del primer libro debo decir que luego de leer brevemente de qué se trataba la historia desistí de leerlo al instante, puesto que no me atrae en absoluto leer la vida de un adolescente inconformista (aunque este comentario moleste a algunos lectores y me traiga inconvenientes). Mucho menos intentaré leer la otra novela de la que deduzco se trata de temas similares.Leer "Nueve Cuentos" no me deparó gran entusiasmo tampoco. Tal vez, mi idea o concepción de cuentos se asemeja más a otros estilos narrativos como por ejemplo el que propugnaba Edgar Allan Poe, creador del cuento moderno cuando afirmaba que un cuento debía causar un “efecto” en el lector, para que este quedara atrapado hasta el final.He notado también que tal vez algunos novelistas no parecen dominar el terreno de cuentos como otros. No es lo mismo leer este tipo de cuentos que uno de García Márquez, Julio Cortázar, Ray Bradbury o Guy de Maupassant. Ni que hablar de Edgar Allan Poe a quien nombrara anteriormente o de los cuentos de los grandes novelistas rusos como Dostoievski, Gógol o Tolstoi. Todos estos autores agreguen en sus cuentos características digámosle efectistas que funcionan como hilo argumental de principio a fin y eso hace que me sienta muy a gusto al leerlos.Nada de eso me pasó con los cuentos de Salinger. Los historias relatadas en ellos se iban de la misma forma que habían llegado. Era tal mi aburrimiento que lleva a expresarlo en la página 274, luego de haber leído siete de los nueve que integran este volumen. Narraciones para mi gusto sin dirección aparente, largos diálogos intrascendentes o situaciones totalmente superfluas me llevaban a agradecer que el libro tuviera sólo 286 páginas.Son pocos los cuentos que me atrajeron. A decir verdad sólo uno, aunque hay dos que sí están bien construidos argumentalmente (según mi humilde punto de vista de lector). El cuento que más me gustó fue “Un día perfecto para el pez plátano” y qué casualidad: me encantó casualmente por su final tan sorprendente.Los otros dos cuentos que me gustaron un poco más que el resto fueron, en primer lugar, “Teddy”, por las características místico-filosóficas de su personaje principal y que encierra toda una concepción existencial del autor y “Para Esmé, con amor y sordidez”, por la forma en que el narrador, un agente del servicio secreto norteamericano en Inglaterra entabla una cariñosa relación con Esmé y su pequeño hermano Charles, acerca de lo que surge de esa charla en el bar y de los que le sucede a ese soldado tiempo después. Noté también que muchos cuentos están ambientados o durante la segunda guerra mundial o en épocas de posguerra y lo que esto generó en algunos personajes de los cuentos.Mención final para el cuento “El período azul de Daumier-Smith”. Un cuento escrito con ironía y en forma amena acerca de un joven pintor de diecinueve años que se hace pasar por un Maestro de la pintura, muchos años mayor, amigo de Picasso y que intenta hacerse pasar por profesor en una academia de arte dirigida por un peculiar señor japonés. Y nada más. El resto de los cuentos me pareció completamente intrascendentes. Simples relatos dirigidos a ninguna parte.No voy a discutir que Salinger es considerado uno de los padres de la narrativa contemporánea; eso está muy claro y yo soy un simple (o triste) lector cuya impresión ante la lectura de sus cuentos no contribuye a nada pero bueno, a mí en particular leer sus cuentos me produjo una sensación de aburrimiento y desinterés que sólo el pez plátano pudo salvar. Sin ofensas Sr. Salinger. No es nada personal, pero debo reconocer que este libro irá a reposar al estante de mi biblioteca por mucho, mucho tiempo.

  • Patricia Nedelea
    2018-12-11 05:50

    Spotless short stories. Perfectly constructed, not even a single extra word. And they fit perfectly together.

  • Chiara Pagliochini
    2018-11-23 12:52

    «Poi accadde una cosa assolutamente orrenda. Mi trovai come trascinato a pensare che qualunque cosa facessi per diventare un uomo capace di amministrare la sua vita con distacco, con buon senso o con eleganza, sarei sempre stato tutt’al più un visitatore in un giardino di orinali e pappagalli smaltati, con una cieca divinità di legno ritta in un angolo, vestita d’un cinto armato».Sono felice, persino orgogliosa di aver salutato il 2015 e inaugurato il 2016 in compagnia di un tipetto come Salinger. Feci la sua conoscenza nell’agosto del 2011: il romanzo era Il giovane Holden, mostro sacrissimo, e mi piacque molto. Da allora, ho preso a dividere le persone che incontro in due macro-categorie: quelle che amano Il giovane Holden (facciamo amicizia?) e quelle a cui non è piaciuto (shò). So che si tratta di un pregiudizio letterario bello e buono, ma statisticamente ho rilevato che tendo a instaurare rapporti d’amicizia con Holden-persone, mentre mi sento a disagio con non-Holden-persone. Se credete che il mio criterio per farsi buoni amici possa funzionare, siete liberi di adottarlo. Nell’aprile del 2013 lessi Franny e Zooey. Mi piacque ancor di più e mi diede le risposte che cercavo in un periodo psicologicamente complicato. Dovessi attraversare un’altra crisi “mistica”, sarà il primo libro da cui tornerò. Ora che ho letto i Nove racconti, penso che sia legittimo annoverare Salinger tra i miei scrittori preferiti (alias miti letterari irraggiungibili e luminosi) e credo anche che trarrò la più grande soddisfazione da qualsiasi altro libro, racconto o lista della spesa da lui compilati. Il modo in cui Salinger scrive è questo:lui prende la penna e, come un pittore, appoggia prima un segno, poi l’altro. È una tecnica vagamente impressionista, senza disegno, un tocco di colore accostato al precedente. Pian piano si forma una figura riconoscibile. Pian piano la figura è inserita in uno spazio riconoscibile. Pian piano è diventata una realtà, un oggetto solido, con tutti i dettagli al suo posto, e colori vividissimi. Puoi domandarti il suo significato, ma l’impressione è che quel quadro rappresenti solo se stesso, in modo quasi sfacciato, enigmatico. Come la Colazione dei Canottieri di Renoir, la cui composizione ossessiona l’Uomo di Vetro nel Favoloso mondo di Amélie. Il modo in cui Salinger scrive è questo:essendo disperatamente umano. Non negando quel fondo di dolore che è caratteristico di ogni umana esperienza: l’esperienza della morte, l’esperienza della guerra, l’esperienza della crescita, l’esperienza dei rapporti interpersonali. Per Esmé: con amore e squallore: fa piangere, non leggetelo in treno. Salinger e Dostoevskij premono i piedini sullo stesso pedale misticamente sensibile della mia mente. Il modo in cui Salinger scrive è questo:perciò che gli eredi si sbrighino a tirare fuori i suoi manoscritti inediti, per Dio!

  • Andrew Smith
    2018-11-21 07:36

    To me, short stories always feel like sampling the chef’s taster menu – afterward I never feel fully sated and just wish I could have had more of the courses I liked the most. It’s set of appetisers without the satisfaction of a full meal. That said there was a lot here to admire and enjoy.Even a minimal amount of research on Salinger throws up the fact that as a GI in World War 2 he was traumatised by the Battle of the Bulge and Nazi concentration camps. So, it’s not surprising to see this reflected in stories first published as a set in 1953. It’s inherent in two of the best known stories: A Perfect Day for Banana Fish and For Esme - with Love and Squalor. In both the impacts of war on its participants is graphically depicted. War and anti-Semitism, also permeates some of the other tales. It feels like an ever-present backdrop to this set.The other theme here is that of religion and of mystical experiences. This takes the lead in two other stories: De Daumier-Smith’s Blue Period and Teddy. I confess found these the hardest to warm to.Quite a few of the tales feature children having grown-up conversations with adults they’ve not previously met. Children are the centre-point to a number of the episodes. These conversations are universally well drawn. In fact, all the conversations in all the stories feel real and alive, aided by the author’s preference for using italics to emphasise certain words, or parts of words.My favourite is The Laughing Man, in which a revered leader (known as The Chief) regales young members of the Comanche Club, in the 1920’s, with tales of a mythical hero. This story ends ambiguously but it’s all in the telling, and the telling is very fine indeed.Overall a very rewarding collection: thought provoking, amusing and, I think, with some stories that will live long in the memory. It’s certainly wetted my appetite to read more of Salinger’s work.

  • Matthew Quann
    2018-12-05 10:28

    Like many people, my first exposure to Salinger was Catcher in the Rye discussed in a high school class with unenthusiastic students. I remember the book polarizing the class, and I was firmly on the side of our boy Holden Caulfield being an overall turd and obnoxious narrator. Looking back on that experience, I felt like I had missed out on enjoying some part of important literature. When I came across Nine Stories in a Michael Chabon novel, I decided to dip my toes back into Salinger's limited catalogue.Nine Stories, then, was a decidedly more enjoyable experience than my previous educational exposure. These stories have the feeling of a low-budget indie movie: cracks are showing along the masks that Salinger's characters present to the world and you wonder if they will crumble. The opening story, A Perfect Day for Bananafish, seems quite standard until the final line left me stunned with its cool delivery of personal collapse. Uncle Wiggly in Connecticut and Just Before the War With the Eskimos present interesting female leads who seem to be wrestling with their place in the world and their very nature.Salinger uses dialogue throughout Nine Stories to convey heaps of information. His portrayal of characters is sparse and you'll find physical descriptions largely absent from these stories. In perhaps my favourite (and definitely the funniest!) of the collection, Pretty Mouth and Green My Eyes, the entire story is conveyed over a phone call between two gentleman, one of whom is stark-raving drunk. In the aforementioned A Perfect Day for Bananafish, the opening dialogue that at first seems so disconnected from the second half of the story is brought into relief by its closing lines. Much like my foray into Alice Munro's short stories, I found Nine Stories to be a bit of a mixed bag. Some of the stories in this collection were stunning--Teddy is up there with some of the coolest I've read this year--while others failed to keep me excited to keep going. Such is the gamble with a short story collection: you might not like every story! All the same, there's more in here that I appreciate than dislike, and my dislike is only minor. These stories didn't all blow me away as much as some other collections I've read this year, but they're still pretty damned good. I waffled between a three and four star rating on this one, and am going to go with a strong three, but very close to four. I'd recommend this short collection for anyone looking to take down a classic or reevaluate their opinion of Salinger!

  • Greta
    2018-12-15 06:45

    Mi è bastato leggere il primo racconto, “Un giorno perfetto per i pescibanana”, per abbattere ogni barriera. La barriera della razionalità, gli argini costruiti dall'esperienza, le consuetudini del cercare determinate cose e fare attenzione ad altre, durante una lettura.Potrei quindi dire tantissime cose su questi racconti: potrei parlare della maestria di Salinger nel tratteggiare storie brevi, che nascono da frammenti di frasi e gesti precisi, si costruiscono quasi da sole e improvvisamente si dipanano nella mente del lettore come scene ampie e strutturate, con un passato definito e un futuro coerente, e improvvisamente terminano in finali significativi, appena accennati, inconclusi a volte, ma sempre, sempre appropriati. Potrei parlare del linguaggio vivido e al tempo stesso vibrante di Salinger, della struttura delle sue frasi, dei suoi dialoghi che rasentano la perfezione (non credo di aver mai letto qualcuno che sapesse scrivere così bene un discorso diretto, realistico, per niente artificioso, eppure così pregno di significato, cosinecessarioalla storia da essere senza dubbio l'opera di un mirabile costruttore). Potrei parlare anche dei bambini di Salinger: bambini così in letteratura non ne ho mai visti, mi verrebbe da dire che ogni bambino presente in questi racconti sia stato un bambino conosciuto davvero da Salinger, amato da Salinger. Potrei dire tutte queste cose e tante altre, potrei dirle molto meglio, ma il punto è che non credo di volerlo fare. Perché ho abbattuto barriere,Salingerha abbattuto le mie barriere, e mi ritrovo qui con una manciata di lacrime e qualche brivido - di freddo, di piacere, non so - a cercare di mettere ordine fra un groviglio di sensazioni che raramente provo in letteratura.Come quando leggo Sylvia Plath o Virginia Woolf (che pure non hanno nulla in comune con questi racconti, oppure hanno tutto - ricordo ancora il passaggio pieno di stupore e ammirazione e invidia di una giovane Sylvia che nel suo diario si strugge per lo stile che Salinger ha e che lei non ha, o crede di non avere), questi racconti si sono fatti strumento di tanto altro, sono rimasti capolavori letterari e si sono alienati, me ne sono appropriata in maniera sicuramente inadeguata, impropria, egoista. E questo è precisamente il momento in cui smetto di parlare di libri, e comincio a parlare di me, e di quanto sia stato importante leggere tutti e nove questi racconti in due giorni di pioggia ininterrotta e cominciare a rifletterci solamente quando tutto è ancora bagnato ma il cielo comincia a rischiararsi. E questo invece è precisamente il momento in cui devo fermarmi e porre dei limiti, cominciare a ricostruire degli argini per trattenere tutto quello che ancora non ho sciolto, ma solo intravisto.Solo, leggete Salinger. Fatelo partendo dai suoi racconti, fatelo quando non vi sentite molto bene e avete voglia di mettervi da parte, lasciando che sia qualcun altro a prendersi la briga di rimettervi a fuoco.

  • Himanshu
    2018-11-29 12:28

    I took 4 days to read this thin book, not because I didn't get enough time, but because all the nine stories had such an engrossing impact on me. Every time I finished reading a story, I'd HAVE to set the book aside and think about what just happened there. Every time it was like a big blow inside my head that'd block all other thoughts for some time, all but one.I usually don't prefer short stories because I enjoy my reading mostly when I get a feeling that I know each and every character in and out, which obviously takes time. But Mr. Salinger! Such a genius he is, it's as if I remember all the characters from each story and will always do. Can't wait to read his other books.