I plan to trace this paradigm first through the Telemachiad, honing in on Joyce’s combined incorporation of Ariel’s song into Stephen’s extended meditation on a corpse on the beach at the close of “Proteus.” “Aeolus” is likewise a point of interest as it most directly addresses Joyce’s preoccupation with rhetoric and style, and Stephen’s linguistic reticence, self-consciousness, and susceptibility to persuasion.
I also plan to examine the various mentions of linguistic and artistic schematics.
Bidney talks about how the turning point in a Salinger story is often accompanied by a game of , or the little girl turning her doll’s head to face Seymour in the poem in “Zooey.” Other forms of games and tricks in Salinger include the use of framing devices, the employment of a play-set New York that is at once familiar and fake, and the winking italicization of words and syllables to inflect layers of meaning.
By using literary tricks and games and playfully drawing attention to his fiction’s constructedness, Salinger leaves his secrets hiding in plain sight.
This is particularly evident in the exchange between Seymour and Sybil in “A Perfect Day for Bananafish,” in which the collaborative back-and-forth between the two players leads to the creation of the myth of the bananafish.
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A kind of prank Salinger plays on the reader is the couching of his narratives in the authorship of the fictional Buddy Glass and the creation of a Glass superstructure of linked stories.
The only substantive body of work on this topic as yet is largely concerned with Caliban’s potential Irishness, and the difficult dynamics of artistic self-definition for a colonized island.
My planned methodology is, admittedly, largely internal to Joyce and Shakespeare’s work, even closed-off from much current scholarship.
Buddy, like his trickster creator, seems to be almost daring the reader to accuse him of invention.
Salinger also incorporates visual tricks in his narratives in what Martin Bidney calls “aesthetic epiphanies” (117).