Many
of the short stories in the collection Nine
Stories by J.D. Salinger deal with relationships between adults and young
children. The first story in the collection, “A Perfect Day for Bananafish” features
an interaction between a grown man and a young girl as a major part of the
plot. The jaded modern reader may interpret this scene as a disturbing and
predatory interaction, but a closer examination of the text seems to suggest
that it is actually very innocent. In class we discussed how the traumatic
events Seymour experienced in the war left him uncomfortable in adult
situations and happy in a carefree conversation with a child.
While
it is not the only other story in the collection dealing with adult-child
relationships, I would like to first draw a parallel between “A Perfect Day for
Bananafish” and “Down at the Dinghy.” The conversation between Boo Boo and
Lionel shares many similarities to the interaction between Seymour and Sybil in
“A Perfect Day for Bananafish.” The distinguishing factor is that “Down at the
Dinghy” portrays a mother-son relationship, whereas “Bananafish” is about an
unattended young girl and an older man who is a complete stranger. Because of this,
the reader does not experience any feelings of distrust or disgust when reading
“Dinghy.” However in both stories the adult figure behaves in roughly the same
way. Seymour makes up the story of the titular bananafish, and Boo Boo talks at
length about her qualifications as an admiral. Both adults introduce some form
of make believe into the conversation. In both cases the adults make physical
contact with the children—Seymour kissing Sybil’s foot and Boo Boo kissing
Lionel’s ear, but again this is much more acceptable coming from a mother than
from a complete stranger.
A
discussion of adult-child relationships in this book would not be complete
without mentioning “The Laughing Man.” This story tells of an afterschool
program for grade school boys run by a local law student known to the boys as “the
Chief”. The boys view “the Chief” almost as a god, contradicting the narrator’s
more realistic description of him looking back on the events:
"The
Chief’s physical appearance in 1928 is still clear in my mind. If wishes were inches, all of us Comanches would have
had him a giant in no time. The way
things go, though, he was a stocky five three or four—no more than that. His hair was blue-black, his hair-line
extremely low, his nose was large and fleshy,
and his torso was just about as long as his legs were. In his leather windbreaker, his shoulders were powerful,
but narrow and sloping. At the time, however, it seemed to me that in the Chief all the most photogenic features of Buck Jones, Ken Maynard,
and Tom Mix had been smoothly amalgamated."
The
reverence the boys exhibit for this man is challenged later in the story when
they confront the fact that the Chief is simply human. This becomes evident
when the Chief’s girlfriend is introduced and begins spending time with the
afterschool program. The Chief’s godlike façade crumbles when the boys see him
in obvious distress after the end of his relationship with her.
Each
story is different, of course, but each focuses on an emotional exchange
between children and adults. They are not peers, but the relationship is perhaps
more memorable and gripping because of the differences in age and
understanding.