This review is appropriate for the third time that I pick this book from the shelf. I am engaged in reading it, and after closing it, I feel that I couldn't have chosen a better book. The fragmented and wire-tangled image of Seymour, which is completed in this book from the perspective of the best narrator of the Glass family, that is, Buddy, is one of Salinger's best works. Of course, it is a bit hard for me to think that Salinger wrote this book. I have given so much to Buddy that sometimes even when I close the book, I am surprised that Buddy's name doesn't appear on the cover for a few moments. Then I remember shit, all of these are creations of Salinger, and I become one. According to Holden Caulfield (another creation of this Mr. Salinger), this book is one of those books that when it ends, you want to pick up the phone, call the author, and tell him to come to your house so you can talk to him.

It is truly a remarkable piece of literature that leaves a lasting impression on the reader. The characters are so vivid and the story is so engaging that it's hard to put the book down. Salinger has a unique way of capturing the essence of human nature and presenting it in a way that is both thought-provoking and deeply moving.

Whether you're a fan of Salinger or just looking for a great read, this book is definitely worth checking out. It will take you on a journey through the lives of the Glass family and leave you with a new perspective on life, love, and the human condition.

Salinger holds a very special place on the sentimental favorites list, which makes it quite challenging to assess his work objectively. Let's begin with the easier half of this two-novella collection.

Raise High The Roof Beam, Carpenters is truly wonderful. Although it sometimes delves a bit too deeply into preciousness, it still manages to work. If you've read A Perfect Day for Bananafish, it serves as a rather chilling prequel to the entire Glass family saga. And if you haven't read APDFB, you should really ask yourself what you're waiting for. It's not only one of the best short stories ever, but Nine Stories as a whole is indispensable.

As for Seymour: An Introduction, well... I'm not entirely sure what to say. I feel that Salinger had reached a point where he only knew how to end stories with sudden epiphanies, and he gives us three, all of which seem somewhat lackluster. First, Seymour is something to be given away to the world by Buddy. Second, the idea that a Zen approach to writing, where one writes without aiming, is the only true way to hit a target. Third, a rehashed version of the essential lesson from Zooey. Reading this story, one can understand the arguments that Hapworth 16, 1924 was proof of a teetering mind gone mad.

However, if Salinger's work is as deeply ingrained in your DNA as it has become for me, you forgive these flaws. It would be unkind and nitpicky to criticize a friend's letter during difficult times. We know how much Buddy must be hurting. It's just a shame that Salinger didn't use the third-person perspective and give poor Buddy a break from constantly recounting Seymour.

Read this collection after you've read the other Glass family stories. They serve as an effective (albeit uneven) coda to the entire affair.

After "Fran and Zooey", about which I still haven't decided whether my opinion is positive or negative, I decided to continue with the adventures of the Glass siblings and I wasn't disappointed (partly).

The first novel, which concerns the wedding day of the eldest brother, Seymour, was enjoyable. Snowy writing, nice vocabulary, black humor, sarcasm and interesting characters, reminding me a lot of Salinger's "The Catcher in the Rye". Just for this novel, I would definitely give 5 stars!

Unfortunately, however, the book didn't end there, but continued with the second novel, which is essentially a "tribute" of the second brother, Buddy, to Seymour's family protocol. I was very tired of Buddy's verbosity, although there were some (rare) bright passages that kept my interest.

The only certain thing is that Salinger knows how to write, the bastard, and I recognize this even if I didn't like this book that much (half of it).

What can I say?

I have a particular weakness for the Glass family.

Although I found "Raise high the roof..." to be much better than Seymour,

I still liked Seymour, perhaps because I truly desired to know more about him.

It can't be said that this is my favorite work of Salinger's,

but I enjoyed it very much all the same.

I must also have a weakness for Salinger himself.

The Glass family, with their complex and often troubled lives, have a certain allure that keeps drawing me in.

Each character seems to have a depth and a mystery that makes them fascinating to read about.

And Salinger's writing style, with its simplicity and yet profound insights, adds to the charm of the stories.

Whether it's the exploration of love, loss, or the search for meaning in life,

Salinger's works always manage to touch a chord within me.

So, while this may not be my absolute favorite,

I will continue to be drawn to the world of the Glass family and the writings of J.D. Salinger.

For as long as I can recall, people have been telling me that this was the worst of the Salinger collection. It's like his Godfather III, if you will. However, having read it, I'm truly uncertain about what on earth they were thinking.

Personally, I relished these two stories to a great extent. "Raise High" is written in the style of "Franny and Zooey", yet from the perspective of a different brother, Buddy. "Seymour" is distinct. I don't desire to categorize it in one way or another.

As a bit of background, both stories center around the eldest Glass brother, Seymour. Interestingly, he doesn't even make an appearance in "Raise High". Those familiar with Salinger's "9 Stories" will remember Seymour as the character who took his own life in "A Perfect Day for a Bananafish". Having read that book earlier, actually 10 years ago, and having reread it 4 or 5 times since then, it's fascinating to gain some in-depth background on Seymour. These stories bestow depth and a real character to him. I envision that the next time I go back to reread "9 Stories", that first story will be an entirely different experience.

Regarding "Seymour: An Introduction", this story is exquisitely crafted and quite complex. Not necessarily in terms of the subject matter, but in the way it's written and the hidden layer within the story as well. On one level, it's evident that Buddy, the author, idolizes his older brother. On the other hand, it's also clear that he feels a degree of betrayal due to Seymour's suicide. Even 20 years after the event, Buddy is still writing about his brother and vividly remembering things from their childhood. He is still learning lessons, but you can sense a feeling of loss and almost betrayal because of Seymour's decision.

Both stories enrich the Glass family mythology. If you're a fan of Salinger's other stories, you should not allow some readers' perception that these stories are the Godfather III of his collection to deter you from reading them.

Raise High the Roof Beam, Carpenters and Seymour: An Introduction by J.D. Salinger is a collection of two novellas. The first one, Raise High the Roof Beam, Carpenters, is told by Buddy, the younger brother, on the day of Seymour's wedding to Muriel. Both Glass brothers had left their positions in the U.S. Army for this event. As Buddy interacts with several wedding guests throughout the day, more details about the Glass family and Seymour are revealed. The title comes from a message left by Seymour's sister Boo Boo on the bathroom mirror of the family's apartment. It is a line from Sappho's fragment:

"Raise high the roof beam, carpenters.
Like Ares comes the bridegroom,
taller far than a tall man"

The second novella, "Seymour: An Introduction," is narrated by Wally Glass and is a free-associating letter about his relationship with Seymour over the years. This book is so captivating that you know you'll have to read it again and again to fully understand the depths of the Glass family. J.D. Salinger's genius shines through every page, and I can't wait to start reading it all over again.

The first story, "Raise High the Roof Beam, Carpenters" is a complete Salinger masterpiece. From Buddy's observational power and narrative voice to Seymour's diary and what we learn about the Glass siblings, every moment is enjoyable, astonishing, and envy-inducing. As Sine also said, no one can talk about it without getting shot.

The second story, "Seymour: An Introduction" makes you feel as if you have been thrown from the shallow waters to the deep ocean after the first one, and I don't mean this in a good way. Buddy's pen has probably become heavier as he has grown older. Although this text, written as a preface to Seymour's poetry collection, is very good in some places, in some parts, I had difficulty following the very long, never-ending sentences or the scattered narrative that jumps from one moment to another. It is actually a commemorative article written by a brother who loved his older brother very much after him. We learn a lot about both Seymour's and Buddy's youths and their views on life in this story. After reading the other Salinger works that I haven't read or read a long time ago, I plan to come back and read "Seymour: An Introduction" again and finish the Salinger canon like this. Because I feel that I might be able to understand some parts better and do it justice.

Actually, I'm mad again because I KNOW the Salinger estate is (and has been) holding back stories from us for YEARS! It's truly frustrating. We, as fans, have been eagerly waiting for those hidden gems to be released. How can they keep these precious works from us? RELEASE THEM!

The quote from Salinger's work, "I have scars on my hand from touching certain people. Once, in the park, when Frannie was still in the carriage, I put my hand on the downy pate of her head and left it there too long. Another time, at Loew's Seventy-second Street, with Zooey during a spooky movie. He was about six or seven, and he went under the seat to avoid watching a scary scene. I put my hand on his head. Certain heads, certain colors and textures of human hair leave permanent marks on me. Other things, too. Charlotte once ran away from me, outside the studio, and I grabbed her dress to stop her, to keep her near me. A yellow cotton dress I loved because it was too long for her. I still have a lemon-yellow mark on the palm of my right hand," gives us a glimpse into the depth of his writing and the unique way he看待人际关系 and experiences.

I don't think you guys understand. I don't love Salinger books a normal amount; I want to unzip my skin and place them in between my lungs. His works have had such a profound impact on me. I feel like the only way someone will ever thoroughly understand me is if they binge-read all available JD Salinger stories/books in their young teens and made that their entire personality that they never recovered from. It's not just about reading the words on the page; it's about living and breathing his stories and having them become a part of who you are.

Carpenters, raise the plumb line high – 4.5*

“So, after explaining all this to her, he tells her that he is very sorry, but that he can't get married until he feels less happy, or some such idiocy! If you don't mind, use your head. Does that seem normal to you? Do you think it's from someone who is in their right mind?”

The irony that Salinger uses in the most delicate or tense situations is disconcerting in this novel. After Seymour cancels the wedding at the last minute, his brother Buddy finds himself in a car, surrounded by the bride's guests, with all the absurd conversations and embarrassing confrontations that can naturally arise from that.

Seymour: An Introduction - 2*

A bore, a headache, a glaring contrast to the first part which was so stimulating. A dissertation that is too “meta” by Buddy Glass about his brother Seymour, which, varying between the philosophical, familiar, pretentious and farcical tone, becomes schizophrenic.

“But in most cases I will say that if the true strength of a Chinese or Japanese poet is not to know a good diospyros kaki, or a good crab, or a good mosquito bite on a good arm, then it doesn't matter how long or strange or fascinating their intellectual or semantic entrails may be, or how deceiving they may sound when touched, because no one in the Mysterious East will speak seriously of him as a poet, or whatever.”

Vakh, you are so great.

I have always been amazed by your abilities and achievements.

You seem to have an endless supply of energy and determination, which allows you to overcome any obstacle that comes your way.

Whether it's in your work, your studies, or your personal life, you always strive for excellence and never settle for less.

Your positive attitude and infectious enthusiasm also make you a joy to be around.

You inspire those around you to reach for their own goals and to believe in themselves.

I feel very lucky to know you and to have you as a friend.

I look forward to seeing all the great things that you will accomplish in the future.

Keep up the amazing work, Vakh!

2018

I live alone (and without a cat, let everyone know that) in a very modest, not to say shabby little house, located deep in the mountains towards the more inaccessible part of the mountain. If we don't count the students, teachers and aging waitresses, I hardly meet people during the working week or year. I belong to that breed of literary recluses who, without a doubt, can easily be bullied and mistreated through the mail.

Moreover, although I have already boasted that I am a happy writer, I can confess that I am not and have never been a happy writer; the usual amount of unhappy thoughts has been graciously left to me as well.

... the pure Zen will remain even after snobs like me leave.

Above all, it was Seymour who overtook me.

*****

I love to "stick my nose" into the works of the Glass family. As real existing people whom I know, but I want to learn more about them. And how I love their letters and diaries. I don't remember such an obsession with another author. In fact, about two years ago, something similar happened to me again - with an author named... J. D. Salinger.

For "Franny and Zooey" I rate it somewhere around 10 out of 5 stars (it keeps increasing every time; I want to learn this work by heart). But the white page is enough.

With "Seymour: An Introduction" the situation is the same - higher and higher (or deeper?). Before, the heart of the work for me was in the next few sentences, but this time I may have copied half the book.

2024

\\"One day, on someone's offhand but quite categorical indication, I reported to the very curb at the end of the lawn and began to seat the guests in the cars.\\"

It's worth thinking about why exactly I was chosen for this responsible job. As far as I understood, the unknown businesslike man who assigned me this task had no idea at all that I was the brother of the groom. Therefore, it is logical to assume that I was chosen for completely different, much more prosaic reasons. I was forty-two. I was twenty-three years old, just having entered the army. I'm sure that it was only my age, uniform and that greenish-yellow glow of undoubted helpfulness that was radiating from me that dispelled any doubts that I could be entrusted with the role of a doorman.

Not only was I only twenty-three years old, but I was also clearly behind for my age. I remember that I was seating people in the cars in a completely incomprehensible way. I was doing this with a false schoolboy's effort, trying to create the impression that I was performing an important task. After a few minutes, it became clear to me that I mainly had to deal with a generation of middle-aged, short, protected people and my role - to catch them by the hand and close the doors behind them - boiled down to empty chest puffing.

I started to behave like an extremely excited, charming young giant, excited by the bells.

But the post-lunch drowsiness was acting on me, to put it mildly, oppressively, and I also didn't see what payment I could receive for the service I was performing. Therefore, although the crowd of "closest relatives" had hardly begun to line up, I jumped into one of the just filled cars that was already pulling away. Maybe as a punishment, I hit my head on the roof and it rang. Among the passengers in the car turned out to be my whispering acquaintance Helen Silsburn, who immediately began to express her unusual sympathy for me. The blow had obviously reverberated throughout the car. But at twenty-three, I was of that type of youth who, no matter what wound they receive in front of a public gaze (except for a broken head), only smile with a deaf unnatural laugh.

J. D. Salinger
"Franny and Zooey!"
Translation: Todor Vulchev

Until next time, dear family! :)

(Once again, I'm comparing the translations of Todor Vulchev and Svetlana Komogorova (of "Seymour") - in my opinion, the superiority of the second; but sometimes I also copy from T.V.)

One point that I don't understand is that the effort of today's writers is to show the mysterious and ambiguous aspects of their individual lives. One incarcerates oneself in a cage, as if the tremors of ordinary humans like us, which are inspirations that come to them, are mingled in writing novels with brave and flawed characters. Another degree, they say things about themselves that are not true.

We didn't see, for example, that Chekhov or Dostoyevsky deal with these cat-and-mouse games or that they try to be literary Robinson Crusoes. So-called fame seekers and ascetics seem (but superficially and apparently) until finally, every ten to fifteen years, they bring out an ordinary but profound book from their island.

It can only be said that Chekhov and Dostoyevsky had real problems and were real writers. But these are just facades, both in writing and in lifestyle.

********************************************

They respect Salinger and know his mysteries because he lives in seclusion.

"For me, this subject is unimportant."

They look at Salinger as a concern of modern man, as a combination of philosophy and spirituality.

"For me, just writing the thoughts of one mind is not very creative."

Regarding Salinger's character portrayal, Seymour, Franny, Zooey, and other members of the Glass family are mentioned. They know his achievements and immortality.

"For me, other than strong and overly self-involved characters, there is nothing more. That no pen ever took me, not even for a moment."

For me, the reason for Salinger's popularity is that America, the novel is in line with the American view and propaganda that goes with anything that has the letters U and S in it.

I didn't see any real concern, not even any powerful line of thought in Salinger's pen. The characters want to waste time showing how complex or smart they are.

For me, they are not.

P.S: Before some friends pointed out that I didn't understand this, I should say that my ability to understand is the same in all conditions. Just as there is no doubt that I enjoy the deep and bone-chilling world, there is no doubt that my criticism is informed and comes from my mind.