There are two good reasons for writing about J D Salinger’s 1950 short story, For Esmé, with Love and Squalor. First, 6th June 2024 will be the eightieth anniversary of D-Day. And second, I recently heard a BBC radio programme about Salinger’s time as an American serviceman in England during the war, which forms the background to this story.
The story is in two distinct parts, or perhaps three, because a short introductory section makes it clear that the narrator is looking back from a happy and settled present day at events that took place sometime earlier.
A bored and lonely American soldier stationed in England in the run-up to D-Day is spending his day off wandering round the town in the rain. The church notice board catches his eye and he goes inside to watch the children’s choir practice. It strikes him that one particular young girl in the choir seems a bit different to the other children.
He meets the girl again later when she comes into the teashop with her governess and small brother. She detaches herself from the governess, comes over to the table where the narrator is sitting alone and strikes up a conversation. Esmé is poised and perfectly mannered in the English upper-class style. She is slightly precocious in her use of language, using words that are a bit beyond her years and not always quite correct. We find out that her father has been killed in the war. Her mother is also dead, but that is not explained.
The narrator has already told us that his fellow soldiers are solitary types and Esmé instantly says, to his surprise, “you’re at that intelligence school, aren’t you?”, perhaps explaining why that should be.
She gets the narrator to admit that in civilian life he is a short-story writer. She hopes that he will write a story for her. As we read on, we realise that the story we are reading is, as the title tells us, that very story. She hopes that he will return from the war “with all his faculties intact” and promises to write to him.
If that is the “before” part of the story, there is now an abrupt switch to “after”. The scene changes to occupied Germany at the end of the war. The narrator identifies himself as “Sergeant X”. A page of description makes clear that his war experiences have left him a dreadful state. He has spent some time in hospital. He chain-smokes but can’t taste the cigarettes, his gums are bleeding, and he can’t sleep. He has what we call today PTSD: “Then, abruptly, familiarly, and, as usual, with no warning, he thought he felt his mind dislodge itself and teeter like insecure luggage on an overhead rack.”
He contemplates a book by Goebbels left behind in the house the American soldiers live in. It belonged to a woman, an official in the Nazi party who the narrator himself arrested. There is an inscription in her handwriting: “Dear God, life is hell.”
There is a fleeting reference to the Hurtgen forest. This was in fact the gruelling battle that Salinger himself was involved in. It’s also made clear that the narrator and his jeep-mate, “Corporal Z”, have been involved in the whole campaign, from D-Day to VE day.
He takes out a letter from a pile of correspondence that he has put on one side and not read. It is letter from Esmé, enclosing the gift of her father’s watch, with its smashed face. This loving gesture from the young girl he befriended is the beginning of healing for him. He has been unable to sleep and suddenly feels very tired. The nightmare is over. He realises that his faculties are, despite everything he has been through, intact.
The story is only twenty-eight pages long, beautifully written and profoundly moving. It appears to be quite autobiographical, closely based on Salinger’s real-life wartime experiences. It makes its meaning as much by what is understated or not quite stated as much as by what is said directly. It brings home the very real human cost of the liberation of Europe, both for soldiers and civilians.
It’s also worth noting that Salinger’s state of mind after his experiences in the war influenced his descriptions of Holden’s mental troubles in his famous novel The Catcher in the Rye, published in 1951.