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A Perfect Day - Isbn:9780987564139

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  • Book Title: A Perfect Day
  • ISBN 13: 9780987564139
  • ISBN 10: 0987564137
  • Author: Steve Waugh
  • Category:
  • Category (general): Other
  • Publisher: Steve Waugh Books
  • Format & Number of pages: 79 pages, book
  • Synopsis: A Perfect Day features the full story of this amazing hundred, told by the man who made it and supported by excerpts from interviews with England captain Nasser Hussain, Waugh’s teammates Justin Langer and Adam Gilchrist, and media ...

Another description


"Perfect Day" lyrics

Just a perfect day
Drink sangria in the park
And then later, when it gets dark
We go home

Just a perfect day
Feed animals in the zoo
Then later a movie, too
And then home

Oh, it's such a perfect day
I'm glad I spent it with you
Oh, such a perfect day
You just keep me hanging on
You just keep me hanging on

Just a perfect day
Problems all left alone
Weekenders on our own
It's such fun

Just a perfect day
You made me forget myself
I thought I was someone else
Someone good

Oh, it's such a perfect day
I'm glad I spent it with you
Oh, such a perfect day
You just keep me hanging on
You just keep me hanging on

You're going to reap just what you sow
You're going to reap just what you sow
You're going to reap just what you sow
You're going to reap just what you sow

Visit www.azlyrics.com for these lyrics.




A Perfect Day for Bananafish Summary

A Perfect Day for Bananafish Summary Summary

(Masterpieces of American Literature)

“A Perfect Day for Bananafish,” published first in The New Yorker and later in the collection Nine Stories. is one of Salinger’s best-known and most puzzling stories. Although a few generally accepted themes can be identified, critics are widely divided as to the significance of the title, symbolism, and climax of the story.

The story opens with Muriel Glass, the wife of Seymour, oldest of the Glass children, waiting for a telephone call to be put through to New York. When the phone rings, the party on the other end of the line is Muriel’s mother, who is extremely concerned about Seymour’s state of mind and Muriel’s safety. Muriel’s mother is afraid that Seymour will “lose control of himself”—evidently with good reason. Seymour has recently driven a car into a tree, among other alarming acts that Muriel’s mother relates: “That business with the window. Those horrible things he said to Granny about her plans for passing away. What he did with all those lovely pictures from Bermuda. what he tried to do with Granny’s chair.” During the course of the conversation the reader learns that Seymour was in Europe during the war and afterward was placed in an Army hospital, presumably as a psychiatric case. The Army apparently decided that Seymour was well enough for release, but his behavior remains erratic, at least by Muriel’s mother’s account. Muriel herself does not seem overly concerned, but she promises to call her mother “the instant he does, or says. anything at all funny,” as her mother puts it, before Muriel hangs up.

The scene then shifts to the beach outside the hotel, where Seymour is lying on his back in his bathrobe. Sybil Carpenter, a little girl Seymour has befriended, approaches him and says, “Are you going in the water, see more glass?” Sybil is fascinated with Seymour’s name, and she keeps repeating it like some kind of incantation: “Did you see more glass?” After some seemingly disconnected banter about the color of Sybil’s bathing suit and the lack of air in Seymour’s rubber float, Seymour takes Sybil down to the water. As they begin to wade in, Seymour tells Sybil, “You just keep your eyes open for any bananafish. This is a.

(The entire section is 919 words.)

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A Perfect Day for Bananafish Summary

(Comprehensive Guide to Short Stories, Critical Edition)

“A Perfect Day for Bananafish” is composed of three interconnected story lines, the first and third of them realistic, the second a kind of fantasy. As the story opens, Muriel Glass is alone in her hotel room, presumably in Miami Beach, waiting for her call to her mother to be put through. She is polishing her fingernails when the telephone rings, but she does not drop everything to answer it. She replaces the cap of her nail polish, gets an ash tray, sits down on one of the twin beds, and answers the telephone on the fifth or sixth ring.

Muriel’s mother, talking from a northern city, is worried at not having heard from Muriel sooner. As the conversation progresses, it becomes increasingly evident that something is seriously wrong with Seymour, Muriel’s husband, who had been mustered out of the army after World War II and who has been hospitalized up until now. Muriel has waited for him through the war and during the time he was hospitalized.

Muriel’s mother is particularly distressed to learn that Muriel allowed Seymour to drive the car on their trip to Florida. He has already damaged Muriel’s father’s car by driving it into a tree, which he seems to have a compulsion to do. The mother urges her daughter to come home at once. She tells Muriel that her father will pay for her to take a trip away by herself to think things out. Muriel mentions that she met the hotel’s psychiatrist, Dr. Rieser, who asked her if her husband, who looks wan and pale, is ill.

Muriel also asks if her mother knows where a book of German poetry is that Seymour sent her from Germany. Seymour considers the poems to be by the only great poet of the century, presumably Rainer Maria Rilke, and wants Muriel to learn.

(The entire section is 710 words.)

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Start your free trial with eNotes to access more than 30,000 study guides. Get help with any book. A Perfect Day for Bananafish Homework Help Questions Seymour Glass (a pun on self-reflection) is like Salinger, who saw heavy fighting in the Battle of the Bulge and may have suffered from post-war trauma. Obviously, the main symbols are the.
  • Seymour Glass is characterized by his peers as someone who is completely out of control; he was released from the military hospital, and no one seems to understand why he was released because of.
  • When selecting narrative point of view, a writer has many choices: first, second, or third person, and within third person, omniscient, third-person discerning, third-person limited, and.
  • J.D. Salinger is most famous for his novel, A Catcher in the Rye. His development of the Glass family through his short stories intrigued readers. The public was introduced to Seymour Glass, the.
  • It would seem that Seymour is trying to escape from reality because of the horrors he witnessed and experienced in World War II. One of the reasons he likes talking to children like Sybil Carpenter.

  • Related Topics



    Nine Stories - A Perfect Day for Bananafish - Summary and Analysis

    Nine Stories Summary and Analysis of "A Perfect Day for Bananafish"

    “A Perfect Day for Bananafish,” the first story in J. D. Salinger’s Nine Stories . begins with a woman named Muriel Glass, wife of Seymour Glass (of Salinger’s famed Glass family), who is on vacation at a Florida beach resort with Seymour. She is sitting in her hotel room – Room 507 – reading a “women’s pocket-size magazine, called ‘Sex is Fun – Or Hell’, and moving the button on her Saks blouse, when the long-distance call she has put through to New York finally comes through. She finishes lacquering a fingernail before picking the phone up; she is “a girl who for a ringing dropped exactly nothing.”

    The woman on the line is her mother. “I’ve been worried to death about you,” the mother says. She starts off by asking why Muriel hasn’t phoned earlier, and then demands to know who drove to the hotel. Learning Seymour did the driving, she exclaims: “He drove? […] Did he try any of that funny business with the trees?” As the conversation continues, it quickly becomes clear that Muriel’s mother and father have grave doubts about the mental stability of their son-in-law.

    More details follow. We learn that Seymour calls Muriel “Miss Spiritual Tramp of 1948”, that he sent her a book of poems from Germany by “the only great poet of the century ” in his view, that he said “horrible things” to Muriel’s grandmother about her “plans for passing away.” Muriel’s mother tells Muriel that her father spoke to Dr. Sivetski about Seymour and was told “it was a perfect crime the Army released him from the hospital.” She urges Muriel to come home immediately, but Muriel will have nothing of it: “This is the first vacation I’ve had in years, and I’m not going to pack everything and come home,” she tells her mother.

    As the conversation continues, we learn that a psychiatrist in the hotel has actually spoken to Muriel about Seymour, after having noticed him playing piano in the hotel bar. It seems that even then Seymour’s behavior – and particularly his pale countenance – were enough to elicit concern. Still, Muriel seems decidedly unconcerned, and she grows more and more irritated with her mother’s agitation.

    The conversation ends with the mother again pleading to her daughter to come home and perhaps reconsider things. “Your father said last night that he’d be more than willing to pay for it if you’d go away someplace by yourself and think things over,” she says. “You could take a lovely cruise.” Muriel refuses. “When I think of how you waited for that boy all through the war,” the mother replies. We learn that Seymour is currently lying on the beach and won’t take his bathrobe off, explaining that he doesn’t want people seeing his “tattoo” (when, in fact, as Muriel and her mother both know, he doesn’t have a tattoo). With that the chat comes to a close.

    Next, we meet a young girl named Sybil Carpenter. She is staying at the hotel with her mother, and is scurrying across the beach when she happens upon Seymour. He is lying on his back, wrapped in the bathrobe, squinting in the sunlight. She asks him if he is returning to the water, to “see more glass”. The two have spoken before.

    After explaining that he was waiting to go in the water with Sybil, Seymour remarks on the girl’s fine bathing suit. “If there’s one thing I like, it’s a blue bathing suit,” he says. “This is a yellow ,” Sybil counters.

    The young man and girl talk, and there is an easy rapport between them. Seymour is joking and jovial, and soon he rises to his feet and says they should go try to catch “a bananafish.” He removes his robe and walks with Sybil into the water. They talk about another girl at the hotel, Sharon Lipschutz, about the necessity of “olives and wax” to everyday life, and about this strange creature Seymour has mentioned – the bananafish. “This is a perfect day for bananafish,” Seymour notes as he carries Sybil on a rubber float into the water, advising her to keep her eyes peeled for any of them.

    Seymour explains that bananafish have a tendency to swim into holes filled with bananas. While perfectly normal fish before entering the holes, once inside the bananafish become ravenous and devour all the bananas they can spot. The result: they grow too fat to escape from the hole. “They lead a very tragic life,” Seymour says.

    Soon Sybil reports: “I just saw one.” Seymour plays along, asks how many bananas the fish had in his mouth.

    Shortly thereafter, Sybil and Seymour get out of the water and part ways. Seymour returns to the hotel, and confronts a woman in the elevator for apparently having looked at his feet. “I happened to be looking at the floor,” the woman says. “If you want to look at my feet, say so,” Seymour snaps back. “But don’t be a God-damned sneak about it.”

    When he reaches the fifth floor, he gets out and enters Room 507. There Muriel is lying on the bed, asleep. Seymour opens a piece of luggage, takes out an Ortgies caliber 7.65 from underneath a pile of clothes, and fires “a bullet through his right temple.”

    “A Perfect Day for Bananafish” put J. D. Salinger on the map. It was published in The New Yorker in 1948, and few short stories in the history of American letters have met with such immediate acclaim. To a modern reader, it is easy to miss what to 40’s readers was the story’s principal and disturbing undercurrent: post-traumatic stress disorder. The late 40’s were in large part a period of reaction to World War II, as exhibited in the burgeoning school of film noir, the influx of apocalyptic B-movies, and new waves in philosophy and literary theory.

    “Bananafish”, with its unsettling mixture of the mundane and the tragic, the light-hearted and the cataclysmic, captured, in its straightforward, deceptively muted style and sensibility, the push-and-pull condition of returning WWII veterans (of which Salinger was one). The ending comes across as a complete shock, and Salinger refuses to linger on it. The very last phrase of the story is “fired a bullet through his right temple” – leaving readers speechless and denying them authorial intervention to interpret the event. The result is that a reader must backtrack in memory through the story to construct a logical framework that can guide him or her from the comic bounciness of the beginning to the sudden bloodshed at the end. Salinger’s decision to send such disparate tones careening into one another is a way of underlining the essential absurdity of war as it seeps into (and refuses to leave) peacetime life.

    Salinger, in his devotion to linear time, in his restriction of the narrator’s voice to just the physical particulars of the scene – so that the short story plays out seemingly “in real time”, like a piece of documented and uninterpreted reality, even like a film – simulates the real-life effect of a suicide. It may come across as a surprise, but as soon as the event has taken place, one invariably sifts through the moments that preceded it in hopes of finding a reason. Indeed, when interpreted in this context, the story is full of indices to Seymour’s death wish: the mother’s mention of his “funny business” with the trees while driving suggests he has tried to crash into a tree before; his complaint about his tattoo and his comment that Sybil’s bathing suit is “blue” may not be bits of jokery but instead reflections of a hallucinatory and seriously deranged mind; the oft commented-upon pallor of his skin points to depression, as does his tendency to stay wrapped up in his bathrobe while on the beach; his talk with Muriel’s grandmother “about her plans for passing away” indicates an undue fascination with death; and so forth and so forth.

    What is most telling, however, is the way in which Salinger implicitly posits Seymour as a sort of prophet, wise beyond his years and perhaps ahead of his time. His story of the bananafish could serve as a metaphor for humanity, particularly the postwar boom generation; surrounded by riches, we cannot help but consume and consume, regardless of the consequences. We are each trapped in our own banana-filled hole. Seymour, able to converse with a child (one should recall the traditional notion of the child as in some ways more wise than the adult, per Rousseau, Wordsworth, Miller, and many other writers and thinkers), is also able to see humanity’s plight for what it is, suggesting that through his madness he has at least managed to escape the “hole”. There is always that fine line between “madman” and “genius”, after all, a line which Salinger explores again in “Teddy ”, the final entry in Nine Stories .

    Of course, much of the writing on Seymour as “genius” in “A Perfect Day for Bananafish” is informed by the character’s larger backstory, as constructed by Salinger throughout his career. Seymour is one of the children of the Glass family – the same family that gave birth to Franny and Zooey. and which appears and reappears throughout Nine Stories – and, as we learn from other stories and books involving him, he is preternaturally gifted, a deep thinker and an inquisitive mind. In a humorous bit of self-reference, the first line spoken to Seymour in “Bananafish” is the following question from Sybil: “Are you going in the water, see more glass?”

    Returning to the notion of the bananafish as metaphor for the fatally consumptive American, it is significant that Salinger devotes the entire first half of his story to Muriel’s conversation with her mother – a conversation in which materialism repeatedly rears its head. Muriel at one point refers to “that awful dinner dress”, and later discusses “the clothes of this year” with her mother: “Terrible,” Muriel calls them. “But out of this world. You see sequins – everything.” Seymour, by contrast, can’t even get the color of Sybil’s bathing suit right.

    Consider also the paragraph that opens the story, and its insistent emphasis on such aspects of postwar America as advertising, women’s magazines, fashion, and cosmetics:

    “There were ninety-seven New York advertising men in the hotel […] She used the time, though. She read an article in a women’s pocket-size magazine, called ‘Sex is Fun – Or Hell.’ She washed her comb and brush. She took the spot out of the skirt of her beige suit. She moved the button on her Saks blouse. She tweezed out two freshly surfaced hairs in her mole. When the operator finally rang her room, she was sitting on the window seat and had almost finished putting lacquer on the nails of her left hand.”

    Intriguingly, Salinger closes his story with a similar focus on objects – only now the object in question is “an Ortgies caliber 7.65 automatic.” The society of commodities turns back on itself; the bananas kill the fish. Perhaps Seymour escapes, through his wisdom or his madness (or both). Or perhaps he’s just another fish trapped in the hole.

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    SparkNotes: A Perfect Day for Bananafish: Plot Overview

    A Perfect Day for Bananafish Context Character List

    Muriel Glass waits in her Florida hotel room for the operator to put her call through to her mother. The hotel is full for a sales convention, so she must wait a long time. She fixes her clothing, paints her nails, and reads a magazine. When the call does go through, Muriel reassures her anxious mother about her safety. Her mother is concerned about the erratic, reckless behavior of Seymour, Muriel’s husband. She hints at a car accident that Seymour and Muriel were involved in and suggests that Seymour deliberately crashed Muriel’s father’s car into a tree. She reminds Muriel of the strange and rude things Seymour has said to members of Muriel’s family. Seymour has recently returned from the war, and Muriel’s mother believes that he was discharged from the military hospital prematurely. Muriel is not as concerned as her mother. She is preoccupied by the fashion at the resort and the evening’s events. In the evenings, there are formal dinners and cocktail parties, at which Seymour often sits apart, playing the piano. The resort is full of society people, although Muriel feels that the quality of these people has diminished since the war. She tells her mother that Seymour is on the beach by himself.

    On the beach, three-year-old Sybil Carpenter lets her mother put sunscreen on her body. Mrs. Carpenter then sends Sybil away so that she can go have cocktails. Sybil wanders far from the part of the beach where the hotel guests are situated. Eventually, she finds Seymour, who knows her. He tells her he likes her blue bathing suit, but her suit is yellow. Sybil accuses him of letting another little girl, Sharon Lipschutz, sit on the bench with him while he played the piano. Seymour assures Sybil that she is his favorite. Sybil tells Seymour he should push Sharon off the piano bench next time. As they get ready to go into the ocean, Seymour tells Sybil they should look for bananafish. They then discuss the tigers in one of Sybil’s children’s books, Black Sambo. as well as Sybil’s fondness for olives and wax. Sybil asks Seymour whether he likes Sharon Lipschutz, and Seymour tells her that he does, especially the fact that she is nice to small dogs and always kind.

    In the water, Seymour puts Sybil onto the raft and says it’s a perfect day for bananafish. He explains that these are normal-looking fish that swim into banana holes and greedily eat all the bananas inside. As a result, the bananafish become so fat that they cannot leave their holes and die. Doubtful of the fish at first, Sybil tells Seymour that she sees a bananafish with six bananas in his mouth. Seymour kisses the arch of Sybil’s foot. Sybil protests, and when they get out of the water, Sybil runs back to the hotel.

    Seymour, alone again, collects his things and returns to the resort. On his way to his room, he accuses a woman in the elevator of looking at his feet. When the woman denies it, Seymour becomes irate, calling her a “God-damned sneak.” The woman leaves the elevator. Seymour proceeds to his room, where Muriel is napping. Sitting on the other bed, he watches her. Then he takes a gun from his luggage and shoots himself in the head.



    A PERFECT DAY Soundtrack

    A Perfect Day Soundtrack

    Genre: Art House & International, Drama
    Directed By: Fernando León de Aranoa
    Written By: Fernando León de Aranoa, Diego Farias
    Runtime: 1 hr. 46 min.

    Watch the trailer

    As Sophie and her seasoned colleagues Mambru and B race against time to save the water supply for an abandoned community, they must outwit pedantic UN bureaucrats, military factions and exploitative local criminals – all the while cleverly distracting Mambru’s ex-lover Katya, who has flown in from head office to shut their mission down. A dead cow, an un-cooperative supplies store and an angry dog tied to the length of rope they desperately need: the team and their guide negotiate the seemingly simple task of extracting a dead body from a well, but staying sane proves to be the biggest challenge on this not-so perfect day.
    Cast: Benicio del Toro as Mambrú, Tim Robbins as B, Olga Kurylenko as Katya, Mélanie Thierry as Sophie, Fedja Stukan as Damir

    A Perfect Day Soundtrack Songlist Movie – Tracklist – OST List – Listen to original score and full songs, Theme Music, film score list, the playlist of all of the songs played in the movie, who sings them, including end credits and scene descriptions.



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