Each of his phrases was rather like a little ancient island, inundated by a miniature sea of whiskey.
Interpretation
The quote illustrates how language can create vivid imagery and evoke emotion, much like the interplay of islands and water.
In this quote, J. D. Salinger uses metaphor to depict the way each phrase a person speaks can transport listeners to a unique, isolated experience, akin to how an island exists surrounded by water. The 'miniature sea of whiskey' suggests a richness or depth in the way expressions are imbued with personal meaning, shaped by the 'liquid' influence of their surroundings, ultimately highlighting the power of language in evoking nostalgia and familiarity.
In practice
A writer might use this quote in a speech about the importance of word choices in storytelling.
Against my better judgment I feel certain that somewhere very near here—the first house down the road, maybe—there's a good poet dying, but also somewhere very near here somebody's having a hilarious pint of pus taken from her lovely young body, and I can't be running back and forth forever between grief and high delight.
I'm not afraid to compete. It's just the opposite. Don't you see that? I'm afraid I will compete — that's what scares me. That's why I quit the Theatre Department. Just because I'm so horribly conditioned to accept everybody else's values, and just because I like applause and people to rave about me, doesn't make it right. I'm ashamed of it. I'm sick of it. I'm sick of not having the courage to be an absolute nobody. I'm sick of myself and everybody else that wants to make some kind of a splash.
My brother Allie had this left-handed fielder's mitt. he was left handed. The thing that was descriptive about it though, was that he had poems written all over the fingers and the pocket and everywhere. In green ink. He wrote them on it so that he'd have something to read when he was in the field and nobody was up to bat
Who in the Bible besides Jesus knew--knew--that we're carrying the Kingdom of Heaven around with us, inside, where we're all too goddam stupid and sentimental and unimaginative to look?
You can hit my father over the head with a chair and he won't wake up, but my mother, all you have to do to my mother is cough somewhere in Siberia and she'll hear you.
Tilting his head back he slowly released an enormous quantity of smoke from his mouth and drew it up through his nostrils. He continued to smoke in this "French-inhale" style. Very probably, it was not part of the sofa vaudeville of a showoff but, rather, the private, exposed achievement of a young man who, at one time or another, might have tried shaving himself left-handed.
Poems, for me, begin as a social engagement. I want to establish a kind of sociability or even hospitality at the beginning of a poem. The title and the first few lines are a kind of welcome mat where I am inviting the reader inside.
...imagine what you are writing about. See it and live it. Do not think it up laboriously, as if you were working out mental arithmetic. Just look at it, touch it, smell it, listen to it, turn yourself into it. When you do this, the words look after themselves, like magic.
What I want is that my picture should evoke nothing but emotion.
It was not the story of design or clothes, it was the fantasy of women that made me want to work in fashion.
Give me artificial flowers - porcelain and metal glories - neither fading nor decaying, forms unaging. Flowers of the splendid gardens of another place, where Forms and Styles and Knowledge dwell. I love flowers made of glass or gold, true Art's true gifts, their painted hues more beautiful than nature's, worked in nacre and enamel, with perfect leaves and branches.
I am a professional photographer because it is the best way I know to earn the money I require to take care of my wife and children.
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