Seymour: An Introduction - J.D. Salinger
I’m finished with this. Or, rather, it’s finished with me. Fundamentally, my mind has always balked at any kind of ending. How many stories have I torn up since I was aboy simply because they had what that old Chekhov-baiting noise Somerset Maugham calls a Beginning, a Middle, and an End? Thirty-five? Fifty? One of the thousand reasons I quit going to the theater when I was about twenty was that I resented like hell filing out of that theater just because some playwright was forever slamming down his silly curtain. (What ever became of that stalwart bore Fortinbras? Who eventually fixed his wagon?) Nonetheless, I’m done here. There are one or two more fragmentary physical-type remarks I’d like to make, but I feel too strongly that my time is up. Also, it’s twenty to seven, and I have a nine-o’clock class. There’s just enough time for a half-hour nap, a shave, and maybe a cool, refreshing blood bath. I have an impulse - more of an old urban reflex than an impulse, thank God - to say something mildly caustic about the twenty-four young ladies, just back from big weekends at Cambridge or Hanover or New Haven, who will be waiting for me in Room 307, but I can’t finish writing a description of Seymour - even a bad description, even one where my ego, my perpetual lust to share top billing with him, is all over the place - without being conscious of the good, the real. This is too grand to be said (so I’m just the man to say it), but I can’t be my brother’s brother for nothing, and I know - not always, but I know - there is no single thing I do that is more important than going into that awful Room 307. Seymour once said that all we do our whole lives is go from one little piece of Holy Ground to the next. Is he never wrong?
Just go to bed, now. Quickly. Quickly and slowly.