Glass family
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The Glass family is a group of fictional characters that have been featured in a number of J.D. Salinger's short stories. All but one of the Glass family stories were first published in The New Yorker; several of them have been collected and published in the volumes Nine Stories; Franny and Zooey; and Raise High the Roof Beam, Carpenters and Seymour: An Introduction.
[edit] Members
The members of the Glass family are listed here, from eldest to youngest:
- Bessie and Les Glass: Retired vaudeville performers and parents of the following seven children:
- Seymour Glass (1917-1948): The eldest son of Bessie and Les. Seymour is featured in "Raise High the Roof Beam, Carpenters," "A Perfect Day for Bananafish," "Hapworth 16, 1924," and "Seymour: An Introduction." He is the author of the letter that comprises the story of "Hapworth" and is the main character in "Bananafish". Seymour commits suicide in "A Perfect Day for Bananafish". He marries Muriel in 1942.
- Buddy Glass (1919-Present): The protagonist in "Raise High the Roof Beam, Carpenters," and the narrator of "Raise High the Roof Beam, Carpenters" and "Seymour: An Introduction." It is revealed in the latter that he wrote at least two stories collected in Nine Stories: "A Perfect Day for Bananafish" and "Teddy". It is also suggested in "Seymour: An Introduction" that Buddy wrote The Catcher in the Rye. Buddy is often considered to be Salinger's alter ego. The character lives in upstate New York and teaches at a women's college. Buddy was very close to Seymour before Seymour committed suicide in 1948, and he narrates most of the Glass stories in his attempt to connect with his dead brother.
- Beatrice "Boo Boo" Glass (1921-Present): Married, mother of three children, Boo Boo appears centrally in "Down at the Dinghy," is mentioned in "Hapworth 16, 1924," and is often referenced in "Raise High the Roof Beam, Carpenters" as the "sea-faring" Glass sibling currently occupying the New York apartment where much of the story's action takes place. Boo Boo "modestly prefers to be referred to as a Tuckahoe homemaker."
- Walt Glass (1923-1946): American soldier killed in an accident in Occupied Japan shortly after World War II. He is described by his girlfriend in "Uncle Wiggily in Connecticut,". He was also described in "Franny and Zooey" as being the only truly "lighthearted" son in the family.
- Waker Glass (1923-Present): A Roman Catholic monk, of the Carthusian order. Walt's surviving twin brother.
- Zachary Martin "Zooey" Glass (1930-Present): Title character of "Zooey," in which he is approximately 25 years old. He is an actor, and (according to Buddy) the most attractive of all the children. Boo Boo describes him as "the blue-eyed Jewish-Irish Mohican scout who died in your arms at the roulette table at Monte Carlo." He is characteristically misanthropic which he attributes to Seymour and Buddys' imposition of their college-age infatuation with Eastern mysticism on himself and Franny as children.
- Frances "Franny" Glass (1935-Present): Title character of "Franny," she is a college student and actress. In both "Franny" and "Zooey", she is depicted reading the book, The Way of a Pilgrim, which contributes to an emotional breakdown.
The children are all precocious, and in fact have all appeared on a fictional radio quiz show called It's a Wise Child. Wise Child has, according to Salinger's stories, sent all seven Glass children through college.
The family is of Jewish-Irish heritage. Their father Les, is Jewish, and their mother Bessie is Irish.
The Glass family lives in New York City; all the children spent most of their childhood in an apartment on the Upper East Side.
[edit] Influences on other works
Some of the characters in the Wes Anderson movie The Royal Tenenbaums (2001) were purportedly modelled after the Glass family. It is interesting to note that Boo Boo is married to a Mr. Tannenbaum, as described in the story "Down at the Dinghy."
The stories that make up the Glass Family chronicle were first published in the late 1940's and the 1950's. Their undercurrents of urban over-sophistication, eastern philosophy and longing for childlike naïveté helped to seed the 1960's imagination.