Uncle Wiggily in Connecticut

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Uncle Wiggily in Connecticut (German first translation under the title Onkel Wackelpeter in Connecticut by Elisabeth Schnack , 1966) is a short story by the American writer JD Salinger , which was first published on March 20, 1948 in the New Yorker 1953 in the Nine Stories collection . Nine stories in the translation by Elisabeth Schnack and Annemarie and Heinrich Böll , 1966).

Uncle Wackelpeter in Connecticut describes a short excerpt from the life of the protagonist Eloise Wengler, who in the course of this story becomes painfully aware of how much she has changed for the worse in recent years since she was a student. At the end of the short story, the protagonist realizes that she has changed from a once cheerful and warm-hearted girl to a frustrated, bitter housewife and wife after her wedding and the birth of her daughter.

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The story begins with the belated visit of the unmarried, working Mary Jane, a former roommate from the old college days, to Eloise Wengler. The description of the external framework of the encounter indicates an atmosphere of disorder, filth, dissatisfaction and disgust right from the start. It is said of Mary Jane that she looks "disturbed, even contrite" ( "upset, even fouled" , p. 19; German literally rather "horrible" or "dirty"). The "whole damn lunch" ( "whole damned lunch" , page 19) is burned; Mary Jane's day off is due to her employer's hernia . Eloise simply throws her cigarette butts into the “dirty snow” ( “the soiled snow underfoot” , p. 20); this dirty snow mud ( "filthy slush" , p. 22) outside slowly solidifies to ice. On the window cross between the panes of the living room window there is a thick layer of dirt ( "grit ... on one of the crosspieces beween the panes" , p. 22); the hostess has no more cigarettes and instead smokes the one of her visitor, as the “stupid maid” ( “dopey maid” , p. 20) probably doesn't know what to do with the two cartons of cigarettes that Eloise had just before her nose have unpacked. In a disgruntled mood, Eloise states that she doesn't have a single “miserable rag” to wear ( “I don't have one damn thing holy to wear” , p. 21) and that “in the whole damned house” there isn't a single pillow that she's could stand (p. 23); She drops the tray with the ice cubes for the alcoholic drinks when taking it out to startle the maid who is sitting on his "thick black butt" and reading the novel " Das Gewand " ( "sitting on her thick black butt reading 'The Robe'") " , P. 22).

In the further conversation with the visitor, which was loosened up by alcohol, it turns out that the hostess has no contact with her childless neighbors (p. 27). Although Eloise has only one daughter, she is referred to by the neighbors as "The Fertile Fanny" ( "Fertile Fanny" , p. 27). For her part, Elois has adapted to this hard-hearted, unrelated and superficial environment; their interests are mainly limited to the non-binding world of film and fashion.

Her loveless marriage, as she confides in her friend, is based on a lie: before the wedding, her husband had led her to believe that she valued Jane Austen's work very much; shortly after the marriage, however, Eloise discovered that he had not read a single Austen novel and that his interests were limited to cartoons and trivial literature (p. 32).

During the day Eloise is alone; her husband works as a commuter in the city. Her daughter, the severely nearsighted Ramona, was obviously ill for a long time. Ramona lives entirely in her childish world and has no deeper relationship with her mother. Eloise's mother-in-law is a stranger to her and hated. It was in this environment that Eloise began to drink in order to forget her depressing life situation; moreover, it has become unjust and mean. For example, she refuses to ask her maid for no reason to let her husband spend the night in the house in view of the harsh winter weather; She only cold-heartedly remarks that after all, she doesn't run a hotel ( “I'm not running a hotel” , p. 36). She also lies to her husband on the phone as he waits in the freezing cold to be picked up by her at the train station. She pretends she can't get the car out of the garage because Mary Jane parked up the driveway and lost her car key in the snow. She then bitingly suggests to her husband that he could "form an infantry platoon" with the other men and march home with them. She tells the maid not to send an order before eight o'clock, as Mr Wengler will be a little late (p. 35).

The two women continue to drink alcoholic beverages and chat about former fellow students at their college, which Eloise had to leave in her sophomore year in 1942 because she was "caught in a closed elevator with a soldier in the dormitory building" (p. 20). Her friend Mary Jane dropped out of college about a month later to marry an aviator cadet (p. 20).

Uninhibited by the abundant alcohol consumption, Eloise begins to tell about Walt Glass, her humorous and always in a good mood lover from a happy past ( "the only boy I ever knew that could make me laugh. I mean really laugh" , p. 28), and tells her guest in confidence that she deeply regrets having married her husband Lew.

Walt's senseless death in a seemingly absurd accident during his military service in the Pacific, about the background of which Eloise does not want to talk further ( “I don't know exactly” , p. 33) is the main reason for her change from a cheerful, cheerful girl to a superficial, bitter and emotionally cold woman. Her husband Lew cannot replace her late lover, who with his unusual jokes and cheerfulness made her life carefree and worth living (p. 28 f.). From Eloise's point of view, he is uneducated and not particularly intelligent ( “damn unintelligent” , p. 33); so he doesn't know Jane Austen's work at all and only reads a trivial novel by L. Manning Vines, as its sadistic content appeals to him.

In her romantic retrospective, Eloise recalls an incident when she fell and sprained an ankle while trying to catch up with a departing bus. Then Walt said in a nice way ( "nice" ): "Poor Uncle Wiggily!" And meant her ankle ( "He said, 'Poor Uncle Wiggily. He meant my ankle" , p. 29).

At the introduction of her daughter Ramona, after an intrusive question from the curious Mary Janes, Eloise forces the little girl to give up his purely imaginary , i. H. Existing only in the child's imagination, to abandon friend Jimmy Jimmereeno (pp. 25-27) and thus desecrate. After this cruel destruction of her childish dream and substitute world, Ramona goes outside again to - as she says - play with her boyfriend Jimmy again.

When Ramona comes back to the house, Mary Jane explains that her boyfriend Jimmy was run over and died. Eloise joins Mary Jane and tells Ramona to repeat what happened to Jimmy. Ramona indifferently repeats Mary Jane's news of Jimmy's death. Eloise sends Ramona to bed because of alleged slight fever without taking any further care of her.

Only later that evening does Eloise go to the nursery in a drunken state to check on her daughter. Since Ramona is sleeping on the edge of the bed, Eloise wakes her up and asks why Jimmy Jimmereeno was run over. When her daughter replies sleepily that she doesn't want to hurt Mickey Mickeranno, Eloise pulls Ramona into the middle of the bed against her will and orders her with a screeching voice to go back to sleep in this position. (P. 36 f.)

Eloise remains at the doorstep for a long time, then rushes to Ramona's bed in the dark without feeling the pain of a bump with her knee against the edge of the bed, grabs her daughter's glasses full of tears, presses them against her cheeks and keeps saying " Poor Uncle Wiggily ” (p. 37). Then she picks up the sheet and gives Ramona, who is also crying, a kiss.

The short story ends with Eloise, in a sobbing and pleading tone, asking her guest: “I was a nice girl, wasn't it?” ( “I was a nice girl, ... wasn't I?” , P. 38).

Interpretative approach

The events in Uncle Wiggily in Connecticut are mainly presented in a scenic representation with many longer dialogue passages from a neutral personal narrative perspective . The plot, which is structured almost like a three-act drama and is geared towards Eloise's self-confidence as the climax , is clearly structured by appropriate paragraphs and precise times. In the first part, which also contains a short authorial insert with expository information on the prehistory, essentially Eloise's personality and character traits are presented in the narrative present, while in the second section, the past is mainly rolled out from the protagonist's subjective point of view. The third part serves to further characterize the main character and ends with Eloise suddenly becoming aware of her personality change in a sudden self-awareness as in Joyce's epiphany .

As you can see from what she said, Eloise came to college on the east coast as a naive, innocent girl from the Midwest . At the time, she was a very sensitive girl who, for example, cried a whole night because of a derogatory remark about her, from New York point of view, unfashionable dress, but was otherwise quite cheerful and cheerful. Above all, her caring, humorous and affectionate lover and friend Walt Glass, whom she loved more than anything, could make her laugh again and again with his comical manner and his bizarre ideas.

When he describes her twisted ankle as "Poor Uncle Wiggily" , he is alluding to the childlike, fairytale-like, ideal and loving world of the friendly but rheumatism-plagued rabbit Uncle Wiggily , which has been more popular with Anglo-American readers since 1910 than 15,000 popular Howard Garis' ( Bedtime Stories ) children's stories published almost daily until 1947. In the German translation by Elisabeth Schnack, these associations, which are important for the meaning of the short story, are unfortunately lost, as the translator obviously mistakenly mistook this fairy tale character Uncle Wiggily for a fantasy name and reproduces it with Uncle Wackelpeter .

The painful loss of her lover in a nonsensical fatal accident while packing an oven during the war in the Pacific was a decisive turning point in the protagonist's life. Shortly after Walt's death, she embarks on a fleeting sexual adventure in the elevator of the college dormitory to distract an anonymous soldier. This relationship, which is obviously emotionally meaningless to her - she does not even mention the name of this lover - leads to her being expelled from college in her sophomore year. Probably out of desperation and possibly also out of defiance, she married Lew Wengler shortly afterwards, who, however, turns out to be a completely different man compared to Walt and therefore always only stands in his shadow for her.

In Eloise's eyes, her husband is a relatively uncultivated, primitive person ( "damn unintelligent" , p. 31) who can only laugh at "cartoons" (p. 29) and who has deceived her about his true spiritual interests before the wedding, when he only faked his fascination for the work of Jane Austen.

In her unhappy marriage, Eloise now fears that her husband might react with reproaches out of jealousy of the dead Walt or with stressful allusions to their previous relationship; for this reason she withholds from Lew all details of her relationship with Walt. The way in which Eloise talks about her husband in an extremely derogatory manner to her visitor clearly shows her feeling of indifference and rejection, if not disgust. This is also evident in her refusal to pick up her husband by car from the train station despite the freezing cold and bad weather.

The death of Walt and the loss of the carefree happiness associated with it, as well as the coexistence with her unloved husband are undoubtedly essential reasons for the change of the protagonist to a bitter, unsympathetic, emotionally cold person, who even the befriended visitor remarks with shock: "Eloise, you ' re getting hard as nails ” (p. 23, German:“ How can you be so hard ”). In addition, however, other important causes can be determined: Eloise has hardly any interpersonal contact and suffers from her loneliness. She dislikes her mother-in-law as much as her husband; the relationship with her own daughter, whom she herself completely neglected and treated carelessly or hard-heartedly, is also disturbed; There are no further relationships to their family of origin. Even in the unfriendly neighborhood she is completely isolated; The neighbors, without exception, childless, are only viciously called Fertile Fanny .

From Eloise's point of view, the black maid is also a stupid, primitive person ( “that dopey maid” , p. 20) and is not an acceptable conversation partner for her; The attempt to get a former fellow student to move in with her also failed. The entire commuter suburb of New York in Fairfield County, Connecticut , in which she lives with the material wealth of the upper middle class, has a cold, sterile atmosphere, which is further accentuated by the dead, barren winter time, in which both the interior and the the external environment is in an icing process.

The protagonist's need for human warmth is also expressed in her wish to have at least one cocker spaniel in her home who “looks like her” ( “What I need is a cocker spaniel ... Somebody that looks like me” p . 24). Eloise's loneliness also explains why she doesn't want to let her rather naive, intrusive visitor go so quickly (see pp. 22 and 28).

Eloise also finds no fulfillment in her role as a housewife and mother. The household is completely neglected by her; for example, the food is burnt and the living room window is full of dirt. When Mary Jane pours her cocktail on the carpet and apologizes, Eloise only reacts by remarking that she hated the carpet anyway (p. 24). Her multiple, sometimes ironic allusions to Mary Jane's professional activity ( “lousy career” , p. 22, and “innocent little career girl” , p. 30) also reveal her own desire to work instead of running the household to have to. This need for a job of her own is also evident during the conversation about Lew in her abrupt statement “You have at least one job” ( “At least, you have a job.” , P. 32).

She is by no means loving or caring towards her daughter, who looks similar to Lew (see p. 24), is very nearsighted and has been ill for a long time. Eloise feels that Ramona is a burden; it is telling the child without ever using a word or a gesture of affection. Eloise is in no way ready to take on her maternal responsibility for her daughter; For example, despite her fever, she simply pushes Ramona off to the maid and sends her to bed alone without taking care of her (p. 34).

In this way, Eloise offers the image of a woman who is dissatisfied with her current life situation, completely frustrated, who lacks a job that is considered meaningful and whose emotional needs remain unsatisfied. With her cold-hearted cynicism, she even shocks her former roommate. This inner hardening of the protagonist corresponds in turn to the previously mentioned frosty weather and the icy winter landscape outside, the negative meaning of which is also reinforced by various dirt attributes. In addition, further remarks about ice and cold, significantly also in connection with Lew and his mother, condense the referential function of this frosty atmosphere. All Eloise expects from her mother-in-law is an ice ax as an heirloom (p. 21); Lew's favorite book is about four men who die in an igloo in freezing Alaska (see p. 32).

According to Groene, Eloise's mental state can be viewed as a frequently observed response to frustration described in the psychological literature . Their lack of contact and readiness to flee to the alcohol as nearly classical form of escapism ( escapism ) are the symptoms of withdrawal behavior in which the victim tried "contact with others and reality to be avoided". Walt's death is deliberately suppressed or even suppressed by Eloise in the sense of a "purposeful forgetting of unpleasant emotional states". Eloise is silent z. B. to Mary Jane about the exact circumstances of Walt's fatal accident, although otherwise she does not seem to have any secrets from her friend in the uninhibited and confidential atmosphere from her friend. The description of the tragic incident shows, however, with Eloise lying in a relaxed position on the carpet, a kind of first Carthartic effect; Despite her previously shown coldness and hardening, she begins to cry and shows that she can still feel emotional impulses.

In addition to Eloise's cold feeling, her conspicuously aggressive behavior can also be explained from a psychological point of view as a reaction to frustration; their aggressiveness is expressed verbally, for example, in the frequent use of the curse words "damn" and "godamn" (pp. 19, 21, 23, 24, 28, 31, 33, 35), in their commanding tone towards Ramona, their cynical- sarcastic In the phone conversation with her husband as well as in the unjustified hostile attitude towards the black maid. It is noticeable that the maid in particular is positively characterized by the name "Grace" and reading Lloyd C. Douglas' historical-religious novel The Robe and is thus a counter-image the aggressiveness of Eloise offers. Accordingly, Grace gives Eloise no reason for the harsh refusal of her request to let her husband stay the night. Elosise's irritable mood also leads to a clearly aggressive behavior towards her daughter when she flings her overshoe down the stairs "with as much force as possible" ( "with as much force as possible" , p. 36).

Ramona, who finds no playmates in the childless environment, is as lonely as Eloise. Just as imaginative as Sybil Carpenter, who is about the same age in A Perfect Day for Bananafish , she invented a friend with her imagination. Jimmy Jimmereeno becomes her constant companion in her childlike world of imagination and thus at the same time a symbol of her longing for protection, love and interpersonal closeness. As an orphan without parental care, Jimmy reflects her own life situation, but at the same time as a fantasy figure he is relieved of all limitations and demands of reality and lives a heroic life in his independence. Instead of the hated overshoes he wears “boots” ( “boots” , p. 27) and has a “sword” ( “sword” , p. 27) with which he can fend off attacks from outside; with its "green eyes" ( "green eyes" ) and its "black hair" ( "black hair" , page 26), it represents something special already because of its appearance.

Just as the dead Walt Glass can only be conjured up as a shadow from Eloise's past in her world of memories and is glorified as the epitome of pure love, Jimmy is also a "shadow figure" that only exists in Ramona's imagination and in her heroic appearance under all conditions is removed from reality. The daughter's situation in this respect is a reflection of her mother's situation; Just like Walt once was for Eloise, Jimmy is now her “beau” (p. 26, Eng .: “friend”, also “lover”) for Ramona and, like her mother, Ramona is reluctant to share something about her very own friend .

When her imaginary friend is desecrated by the intrusive curiosity of the visitor, Ramona lets him die in an accident like Walt once did. In her child's fantasy world, unlike in her mother's imagination, a lost friend can easily be replaced by a new one. With Mickey Mickeranno, she soon creates a new companion to whom, like Jimmy before, she leaves the space in the middle of her bed.

When Eloise visits her daughter in the nursery later that evening, she finally realizes that “in her daughter and her conceited friend she is only faced with a repetition of her own fate, that her own situation is concretized in the presence of her child.” The loss of hers beloved Walt and her whole "botched existence" become painfully conscious again; She experiences Ramona's severe nearsightedness as an indication of her own inner weakness. Against this background, her impotent anger at Ramona as a "scapegoat" discharges in her alcohol-disinhibited state in an extremely aggressive, malicious act: She forcibly pulls the frightened and defenseless Ramona into the middle of the bed and forces her to non-existence to admit to her fictional friend.

Just as her own life is mendacious and wrong and her former lover is irretrievably lost, neither does she treat her daughter to a better fate and cruelly destroys Ramona's possibility of escape into fantasy.

The extreme aggressiveness and brutality of her actions, however, brings Eloise to her senses shortly afterwards and a " shock of recognition " occurs, which causes a sudden change in her behavior.

After she has remained on the threshold - the symbol of transition - for a long time, she tearfully grabs Ramona's glasses, presses them against her cheeks and repeats the words "Poor Uncle Wiggily" several times . Then she puts the glasses back on the bedside table with the glasses facing down ( "lenses down" , p. 37). Her words as well as the picking up and turning of the glasses, which symbolize the separation between mother and daughter, illustrate the decisive change in barely noticeable and easily overlooked nuances. Until then, the upward-pointing glasses were "the despised sign of illness" between Eloise and her daughter, now she turns the glasses down and symbolically removes the obstacle in the relationship between mother and daughter.

Just as Walt once tried to comfort her over her injury with the words "Poor Uncle Wiggily" , she now turns to her crying child with a gesture of loving care by pinning the sheet and giving Ramona a kiss. However, her words are also a “sign of sadness for herself” and above all “for the loss of her former warmth and sensitivity” in her carefree life with the humorous and imaginative Walt.

The end of the short story remains open; the question of whether Eloise's self-knowledge can be the basis for a new beginning and whether she will actually find the strength to lead a more sincere or better life in the future cannot be clearly clarified.

The history of works and backgrounds in Salinger's world of fiction

Walt Glass, Eloise's late lover, is the brother of Seymour Glass, the protagonist in A Perfect Day for Bananafish , in the early Glass stories of Salinger . Eloise's current husband also turns out to be the former commander of Buddy Glass, who was only reluctant to grant him leave for Seymour Glass's wedding. With his alleged reading of Jane Austen in contrast to his actual preference for the trivial work of L. Manning Wines, a pair of contrasts is created that functionally corresponds to that of Rilke and popular magazine in A Perfect Day for Bananafish .

As in Uncle Wiggily , the symbolic motif of seeing also plays an important role in this story. While Seymour Glass, as a sensitive outsider, “sees more” than the others in a superficial world and the overabundance of his impressions and sensations causes him to voluntarily leave this world, Ramona Wengler, who in contrast to Seymour can hardly see, is nevertheless one as well lonely outsider in a callous and cruel world. Her gaze is directed inward, where behind her thick glasses she builds up her own world of dreams and dreams, in which, like Seymour, she “sees more” than the other healthy and superficial ones. Ramona can - and she has this in common with Sybil Carter in A Perfect Day for Bananafish - in her childlike innocence, still free from the reality and logic of the adult world, using her imagination to create her own better world and find shelter in it. Like Ramona Wengler, Sybil Carter lives in the fictional place "Whirly Wood" in Connecticut.

The motif of the redeeming or saving influence of childlike innocence on the suffering adult, in all its entanglements, which Salinger takes up time and again in his narrative work, echoing in Uncle Wiggily's end. B. with the character of Esmé in the short story For Esmé-with Love and Squalor (German title: For Esmé with love and rubbish , also: For Esmé with love and misery ) and especially in his novel A Catcher in The Rye , published in 1951 in which the protagonist Holden Caulfield is finally brought to accept his own place in society through the unconditional love of his little sister Phoebe. In turn, Holden Caulfield shares the pain of the painful confrontation with the adult world with Ramona Wengler. As a "catcher in the rye", Holden wants to save other children from falling off the cliff that threatens their childlike innocence in a world of lying social conventions and values.

The protagonist of Uncle Wiggily in Connecticut , on the other hand, with the loss of her beloved Walt and her unfulfilled life as a housewife and mother on the one hand, and her maternal love reawakened on the other hand, is also in a field of tension between "love" and "squalor" in the demoralized American middle class world the suburb ( suburbia ). In the fictional reference system of A Catcher in The Rye, this field of tension corresponds to the equally central pair of opposites of nice (German: “nice”) and phony (German: “lying, wrong”).

The reference to the "nice" rabbit Uncle Wiggily in the title of the short story accordingly refers to a fairytale "world of love, warmth and imaginative humor with Walt", while Connecticut, on the other hand, the "epitome of frustrating life in a sterile, unfriendly environment an unloved man ”embodied.

reception

The origin of this story falls at the end of a creative phase of Salinger between 1948 and 1953, which, with The Catcher in the Rye and those anthologized narratives in the Nine Stories, is generally regarded as the culmination of his literary work in Salinger research. Despite his overall controversial position in American literary history, he created undisputedly important modern classics not only with the above novel, but also with the stories about the fate of the Glass family that were written during these years.

Uncle Wiggily is generally counted by the majority of the critics alongside A Perfect Day for Bananafish and For Esmeré With Love and Sqalor as one of Salinger's most successful short stories and even praised as his best short story by various critics such as W. French. The way the narrative is presented is variously compared with the style of Hemingway , while in typological terms Uncle Wiggily has been viewed as a character story in the tradition of Sherwood Anderson , in which the actual plot only plays a subordinate role.

Film adaptation

Shortly after the initial release of Uncle Wiggily in Connecticut , Salinger sold the film rights to producer Samuel Goldwyn in order to further his career, although shortly before he had warned Ernest Hemingway not to sell his film rights to Hollywood. Salinger even renounced any possibility of influencing the planned film version. Uncle Wiggily in Connecticut , however, remained the only prose work of Salinger that was approved by him for a film adaptation.

The screenplay for the film adaptation was written by Julius and Philip Epstein , who, to Salinger's horror and annoyance, rewrote his template for a sentimental love story with a happy ending in classic Hollywood fashion. The film was released on January 21, 1950 under the title My Foolish Heart in American cinemas and became a box-office success. The film version was also nominated twice for the Academy Award , for both best actress ( Susan Hayward as Eloise) and the score by Victor Young .

Secondary literature

  • Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul Gerhard Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, pp. 242-283. Also reprinted in: Peter Freese: The American Short Story • The American Short Story. Collected Essays • Collected Essays . Langenscheidt-Longman Verlag, Munich 1999, pp. 195–232.
  • Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , pp. 110-118.

Book editions

  • JD Salinger: Uncle Wiggily in Connecticut . In: JD Salinger: Nine Stories New York a. a., Little, Brown and Company 1981, pp. 19-38.
  • JD Salinger: Uncle Wobble Peter in Connecticut . In: JD Salinger: Nine stories . Rowohlt Verlag, Reinbek near Hamburg 1968, ISBN 3-499-11069-5 , pp. 17–31.
  • JD Salinger: Uncle Wiggily in Connecticut . In: JD Salinger: Nine stories . German by Eike Schönfeld. Kiepenheuer & Witsch Verlag, Cologne 2012, ISBN 978-3-462-04382-2 .

Web links

Individual evidence

  1. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 111. See also Peter Freese : JD Salingers Nine Stories · An interpretation of the early Glass stories . In: Paul Gerhard Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 263 ff. The text of the story is quoted in the following in Nine Stories or in the German translation by Elisabeth Schnack in the Rowohlt edition Nine Stories
  2. ↑ See Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 264.
  3. ↑ See also the table of contents in Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 264 f.
  4. ↑ See text p. 33. See also the table of contents in Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 266 f.
  5. ↑ See text on p. 26 f. See also the table of contents by Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 265 f.
  6. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 111 f. See also Peter Freese : JD Salinger's Nine Stories · An Interpretation of the Early Glass Stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 263 f. and 266.
  7. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 111 f.
  8. ↑ See Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 265. See also Horst Groene: Jerome D. Salinger, “Uncle Wiggily in Connecticut” . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 112.
  9. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 112 f. See also Peter Freese : JD Salinger's Nine Stories · An Interpretation of the Early Glass Stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 265 f.
  10. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 113. See also Peter Freese : JD Salingers Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 264 ff. The wickedness of this nickname is not only evident in the epithet "Fertile" (Eng. "Fruchtbar"), but also in the choice of the name "Fanny" , which is also used in the lower colloquial language as a slang expression for "the human rump" (Eng. "the human back part ", i.e. literally translated: "ass") is used (cf. ibid, p. 264).
  11. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 113. See also Peter Freese : JD Salingers Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 264 f.
  12. ↑ See also Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 113.
  13. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 114. See also Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 264 f.
  14. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 114.
  15. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 114 f.
  16. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 115. See also Peter Freese : JD Salingers Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 267.
  17. ↑ See Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 267.
  18. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 115. See also Peter Freese : JD Salingers Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 268.
  19. ↑ See Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 115. See also Peter Freese : JD Salingers Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 268.
  20. ↑ See Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 269. See also Horst Groene: Jerome D. Salinger, “Uncle Wiggily in Connecticut” . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 115.
  21. ^ Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 115. See also Peter Freese : JD Salingers Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, pp. 268-270.
  22. ↑ See Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 269 f. See also Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 116. As Groene explains in detail in this context, the end of Uncle Wiggily has been interpreted differently by different interpreters in this regard.
  23. ↑ See Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, pp. 270 and 263 f. See also Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, p. 112f. and 115f.
  24. ↑ See Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 270.
  25. ^ Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, ISBN 3-503-01225-7 , p. 116 f. See also Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, pp. 114 and 116.
  26. ↑ See for example the explanations and evidence in Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, p. 11of.
  27. ↑ See the information in Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, p. 111f.
  28. ↑ See Kenneth Slawenski: JD Salinger - A Life . Random House Trade Paperbacks, New York 2012, ISBN 978-08129-8259-6 , p. 182 f. and Horst Groene: Jerome D. Salinger, "Uncle Wiggily in Connecticut" . In: Peter Freese (ed.): The American Short Story of the Present: Interpretations . Schmidt Verlag, Berlin 1976, p. 111.
  29. ↑ See Kenneth Slawenski: JD Salinger - A Life . Random House Trade Paperbacks, New York 2012, ISBN 978-08129-8259-6 , pp. 183 f.
  30. ↑ See Kenneth Slawenski: JD Salinger - A Life . Random House Trade Paperbacks, New York 2012, ISBN 978-08129-8259-6 , p. 184