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Bananafish

Bananafish or banana fish may refer to:

Literature and Fiction

Short Story by J.D. Salinger

"" is a by , first published in the , 1948, issue of . It was later collected in Salinger's 1953 anthology Nine Stories, marking the debut of the characters central to much of his later fiction. The narrative unfolds at a resort, alternating between scenes of the protagonist Seymour Glass's wife, Muriel, conversing with her mother about Seymour's fragile mental state, and Seymour's playful yet poignant interaction with a young girl named Sybil on the beach. During their encounter, Seymour invents a fable about bananafish—fictional creatures that swim into underwater holes, gorge themselves on bananas until they become too fat to escape, and subsequently die—before an elevator altercation leads him to return to his hotel room and commit . The story explores profound themes rooted in the post-World War II era, including the and experienced by returning veterans like Seymour, who struggles to reintegrate into civilian life amid superficial social norms. Central to these motifs is the tension between childlike innocence, embodied by Sybil, and the corruption of adulthood, highlighted through Seymour's disconnection from Muriel's materialistic world. issues, particularly or what is now recognized as , underscore Seymour's isolation and inability to communicate his inner turmoil. The bananafish serves as a potent of self-destructive and existential entrapment, mirroring Seymour's own descent into despair as he succumbs to overwhelming emotional burdens much like the fish to their excess. This encapsulates the story's critique of a society that fosters rather than healing for its wounded members. Critically, the story received widespread acclaim for its subtle psychological depth and innovative structure, establishing Salinger as a major literary voice and popularizing his work within elite literary circles. Scholars have praised its exploration of veteran trauma and symbolic richness, influencing subsequent on and innocence in modern fiction. The narrative's impact extends to inspiring elements in other media, such as the manga series by .

Manga Series by Akimi Yoshida

Banana Fish is a Japanese manga series written and illustrated by , serialized in 's Betsucomi magazine from May 1985 to April 1994, spanning 19 volumes. The title draws brief inspiration from J.D. Salinger's "," incorporating the enigmatic phrase into a central plot element. Yoshida, who debuted in 1977, crafted the work as a gritty urban thriller set against the backdrop of , blending elements of crime drama and psychological depth atypical for at the time. She is a three-time recipient of the in the category for other works (1983, 2001, 2015). The narrative centers on Ash Lynx, a 17-year-old and prodigy with a traumatic past marked by and involvement in . Ash investigates a mysterious drug called "," which induces , violent behavior, and susceptibility to , uncovering a vast conspiracy linked to U.S. military experiments in and his own exploitation by boss Dino Golzine. Accompanied by Eiji Okumura, a gentle Japanese photographer's assistant who becomes his closest ally, Ash navigates betrayals, gang wars, and political intrigue. Key characters include Dino Golzine, the manipulative leader who raised Ash as a for his ambitions; Eiji, whose innocence provides Ash emotional refuge; and supporting figures like Max Lobo and gang leader Sing Soo-Ling, who aid in the unfolding . The story explores profound themes of childhood trauma, fluid sexuality, unbreakable friendship, and anti-war sentiments, emphasizing the dehumanizing effects of power and violence. In 2018, the was adapted into a 24-episode television series produced by , directed by , which aired from July to December and closely followed the original storyline while enhancing its visual intensity. The garnered acclaim, boosting the series' visibility. By 2018, had sold over 12 million copies worldwide, establishing it as a landmark in for its bold portrayal of LGBTQ+ relationships and complex antiheroes. The manga's influence endures in discussions of queer representation in Japanese media, praised by LGBTQ+ communities for humanizing same-sex bonds amid adversity.

Music

Song by The Cure

"Bananafishbones" is a song by the English rock band The Cure, written by frontman Robert Smith and released as the ninth track on their fifth studio album, The Top, on 4 May 1984 via Fiction Records. The track exemplifies the album's post-punk and new wave foundations infused with psychedelic rock elements, characterized by its swirling guitar riffs, layered keyboards, and erratic rhythms that create a disorienting, dreamlike atmosphere. Smith handled vocals and most instrumentation, with contributions from longtime collaborator Laurence "Lol" Tolhurst on keyboards and co-writing certain tracks, alongside guitarist Porl Thompson. The of "Bananafishbones" feature abstract, surreal , including the line "This is the way you go through / Complaining about the bananafish / Flopping ," evoking themes of , emotional overload, and futile struggle. These motifs draw inspiration from J.D. Salinger's short story "," where the titular creature symbolizes gluttonous self-destruction leading to demise, a connection has acknowledged as influencing the song's title and conceptual framework. The narrative unfolds through fragmented verses that critique escapist behaviors and relational discord, aligning with the band's exploration of psychological tension during this era. Recording for The Top occurred amid a transitional phase for The Cure, following the gothic intensity of their 1982 album Pornography and marked by lineup instability after bassist Simon Gallup's departure; the sessions at Garden Studios in London and Livingston Recording Studios in Scotland involved session musicians like drummer Andy Anderson and bassist Phil Thornalley, who also co-produced with the band. This period reflected Smith's experimentation with lighter, more pop-oriented sounds while retaining post-punk edges, though the album's production has been critiqued for its occasionally muddled mix. Live performances of "Bananafishbones" were prominent during the 1984 Top Tour but became relatively rare thereafter, with notable revivals in 2012 at festivals like Primavera Sound and in 2018 during the Meltdown Festival, totaling 81 documented shows by the band. Upon release, The Top achieved commercial success, peaking at No. 10 on the UK Albums Chart and spending 10 weeks in the Top 100, signaling the band's growing mainstream appeal. "Bananafishbones" itself garnered praise for its experimental structure and hypnotic groove, contributing to the album's role in bridging The Cure's goth rock roots with broader alternative influences, as fans and critics often highlight its innovative sound in discussions of the band's evolution. Interpretations frequently tie the track back to its literary origins, reinforcing Smith's penchant for embedding cultural references in his songwriting.

Other Musical References

Japanese rock band Galileo Galilei, featuring vocalist , released "Bananafish no Hamabe to Kuroi Niji" (translated as "Bananafish Beach and Black Rainbow") as a track on their 2014 mini-album See More Glass. The song incorporates themes of melancholy and natural imagery, with "bananafish" serving as a poetic element that evokes and fleeting . This usage subtly nods to the literary motif from J.D. Salinger's "," integrating it into a modern context. In a punk-infused contrast, band included "Banana Fish" on their 1983 debut album Burning Farm, delivering a high-energy, track that captures the group's signature quirky aesthetic. The portray nostalgic party scenes fading into morning regret, employing "" in a whimsical, subversive manner that references Salinger's narrative while twisting it into playful absurdity. Building on influential precedents like The Cure's 1984 song, these later tracks have perpetuated "bananafish" in indie and alternative music circles, often subverting the original literary themes of psychological turmoil through experimental and lighthearted lenses. Despite limited mainstream chart performance, they have fostered dedicated niche followings among fans of Japanese alternative rock and punk, contributing to the term's enduring cultural resonance in underground scenes.

Publications

Bananafish Magazine

Bananafish Magazine was an influential underground dedicated to , , and art, founded in 1987 by Seymour Glass in , . The publication's name drew inspiration from J.D. Salinger's 1948 short story "," reflecting its idiosyncratic and literary undertones. It operated with a DIY ethos, producing 18 irregularly issued volumes until 2004, emphasizing subcultural scenes through a mix of interviews, record reviews, and unconventional writing styles that often veered into stream-of-consciousness and fictional digressions. The magazine's content centered on obscure and avant-garde artists, featuring interviews with figures such as and Sonic Youth's , alongside reviews of experimental records and found art elements like leaflets and artist correspondence. Starting with issue #4 in 1989, it included compilation records (initially 7-inch flexi-discs, later ) showcasing and ambient tracks, which helped document the era's sounds. Circulation grew modestly, reaching around 2,000 copies by issue #12 in 1998, with distribution expanding from local outlets to mail-order networks and trades, though it remained a niche publication tied to the community. Bananafish played a pivotal role in the 1990s noise and underground, serving as a key resource that shaped artists like Oren Ambarchi and fostered connections within subcultural networks. Its influence extended to broader culture by blending with absurdity, often under pseudonyms like I. Vern Beezer for fictional columns. After ceasing print in 2004, the magazine's legacy endures through its cult status; rare issues are highly collectible among music historians and available via specialty distributors like Tedium House, with partial archives accessible online through fan scans and listings. It inspired later zines and podcasts exploring similar experimental territories, maintaining Seymour Glass's ongoing contributions to via projects like the Bren’t Lewiis Ensemble. As of 2025, Glass continues releasing music, including albums like The Inevitable Typo On Sheila Ostrichs Tombstone with the Bren’t Lewiis Ensemble and solo works under S*Glass.

Zoology

Fish Species Common Names

Several fish species in tropical marine environments bear common names such as "bananafish" or "banana" variants, derived from their elongated bodies or yellowish color patterns evocative of . These names are particularly applied to species within reef-associated families, where physical traits like slender forms and yellow striping contribute to the . The following details key examples, focusing on their , , and ecological roles. The , Albula vulpes, belongs to the Albulidae and is distributed worldwide in shallow tropical marine waters, including the Western Atlantic from the to , and regions, typically at depths of 0–10 meters over sand or mud flats. This species has a deeply forked tail and a silvery, elongate body up to 1.05 m total length, with a bluish back and white sides, evoking a banana shape in profile. It forms schools and feeds on benthic like shrimp and crabs by rooting in sediments, serving as a key prey for larger predators and a popular gamefish. The "bananafish" is widely used, especially in the and Pacific. It is listed as Near Threatened by the IUCN as of 2011 due to habitat loss and . Marr's fusilier (also known as bananafish), Pterocaesio marri, belongs to the family Caesionidae and is distributed across coral reefs from to the , typically at depths of 1–30 meters in clear waters. This exhibits a slender, streamlined body typical of fusiliers, with an upper blue-to-greenish coloration and a whitish lower half, accented by two narrow to brownish stripes along the sides—the lower one following the —which contribute to its banana-like appearance. It reaches a maximum length of 35 cm total length and forms large midwater schools, feeding primarily on , thereby serving as an important in reef ecosystems. The common name "bananafish" is documented in references for this species. Another species referred to as the banana wrasse or bananafish is Coris picta, a member of the family Labridae, native to coastal and offshore rocky reefs in eastern waters from southern to , as well as and parts of the western Pacific, at depths of 3–25 meters on sandy bottoms. Juveniles display a bright body with spots, resembling a in color and elongate shape, while adults transition to green-blue hues with orange lines and a broad mid-lateral stripe featuring comb-like extensions. This species grows to about 25 cm total length and is named for the banana-like juvenile coloration. Ecologically, it inhabits tropical to subtropical reefs, contributing to benthic communities by feeding on small and parasites. In aquarium trade contexts, the double whiptail bream Pentapodus emeryii is commonly called or banana snapper, belonging to the family and occurring in western Pacific reefs from the through to northwestern , at depths of 2–35 meters on clear coastal slopes. It has a long, slender body with a violet-blue upper half, white lower portion, and two prominent electric yellow horizontal stripes, enhancing its banana-inspired naming in popular usage. Reaching up to 35 cm total length, it is solitary or groups and feeds on small fishes, crustaceans, and worms, playing a role in tropical reef ecosystems while being noted for its suitability in large aquariums. The common name may trace etymologically to the Indonesian word "pisang" for , reflecting regional linguistic influences on marine nomenclature. These species collectively inhabit tropical marine reefs, where their schooling or grouping behaviors and mid-to-lower trophic feeding positions support ecosystem dynamics as prey for larger predators. The banana fusilier (Pterocaesio pisang) represents a variant within the Caesionidae family closely allied to other Indo-Pacific fusiliers, notably P. marri (Marr's fusilier), from which it differs in fin patterns such as distinctly black or reddish-black caudal fin tips and a more uniform greyish-blue body coloration without prominent yellow stripes. This species inhabits coral reef edges and lagoons across the Coral Triangle—encompassing Indonesia, the Philippines, and Papua New Guinea—and extends through the broader Indo-West Pacific from East Africa to Fiji. As a midwater schooling fish, P. pisang primarily feeds on zooplankton, using its protrusible mouth to capture planktonic prey while forming mixed aggregations with congeners. In the marine aquarium trade, "" serves as a for certain elongated, yellowish like Pentapodus emeryii (double whiptail ), applied due to their banana-like body shape and coloration. These thrive in spacious setups of at least 120 gallons with strong water flow and hiding spots among , requiring stable parameters including 8.0–8.4 and 1.020–1.024. Juveniles are reef-safe, but adults may nip at small crustaceans or sessile inverts, making them suitable for fish-only or cautiously mixed reef tanks with compatible peaceful swimmers like or larger . The nomenclature "bananafish" often arises as a misnomer in regional Southeast Asian fishing lore, where "ikan pisang" (Malay for banana fish) describes assorted elongated, yellow-tinged marine species such as the rainbow runner (Elagatis bipinnulata) or (Albula vulpes), evoking their curved, banana-resembling profiles. No distinct "bananafish" taxon exists in formal , yet the term endures in local glossaries and vernacular accounts for such morphologically akin fishes. Conservation efforts for caesionid relatives like P. pisang and P. marri address pressures in the , where artisanal gears such as gill nets and drive-in nets target schooling aggregations, especially in high-demand areas like the . Despite these threats, both species hold IUCN Least Concern status (assessed ), with ongoing monitoring to track fishery impacts and ensure sustainable harvests.

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