With these words from Chapter 9, Holden indicates that he feels confused by his desires and ashamed of his active sexual imagination. Some fear he is its downfall. This subversion of binary oppositions takes center stage at the novel's ending, the ambiguity of which has long divided Catcher's critics. I'm currently reading Catcher in the Rye to my son so this is quite helpful. She also remarked that Holden was so completely self-centered that any other characters who wandered through the book, with the exception of Holden's sister, Phoebe, had no authenticity at all. And yet Holden retains his pathos, even upon several rereadings. The reader can immediately see that Holden is smart and well read.
Holden is a demon of verbal incision. Does it matter, if it has meant something to generations of readers? The ambiguity is, in itself, characteristic of Holden, and it reflects his contradictory nature. The same could be said about his thoughts concerning the topic of sex, which is a growing source of anxiety for the 16 year old. Jung describes his theory in the brief summary that follows: I have chosen the term collective because this part of the unconscious is not individual but universal; in contrast to the personal psyche, it has contents and modes of behavior that are more or less the same everywhere and in all individuals. Their world offers Holden Caulfield some distinctly perverse role models.
His actions and the way he acts reveals that Holden is very lonely, and is longing for human companionship. I am to examine three aspects of the traffic stop and arrest, the initial stop, the extension of the stop, and the details surrounding the consent to search given by Mr. He has many ambitions and desires for his life but he is faced with the basic conflict in the story, corruption. The first literary technique J. He does not have much of a future in store for him at this point in his young life. At this point, a fall is indeed something horrible for Holden, as Antolini foresaw. Never mind that even museum displays change.
D Salinger delves into the mentality of a boy that hates adult intimacy and sexuality. He seeks to find some consolation, some help during this difficult time but finds no one. Pheobe, diametrically, has not yet been absorbed by society but is on her way and Holden nor anyone else can stop her. The story is told from a psychiatric institution. Understanding Media: The Extension of Man.
He praised the novel as a unique contribution to the coming-of-age novel genre, in that its central character was so exceptional. As such, society expects people to constantly change and adapt. He cries to Allie not to let him disappear. Archetypal Patterns in Poetry: Psychological Studies of Imagination. Salinger, born in 1919 and brought up in New York, surely rode on the Central Park carousel, which went into service in 1922. Antolini: He was the one that finally picked up that boy that jumped out the window I told you about, James Castle.
A common complaint noted Holden Caulfield grows tiresome with his incessant self-centeredness. In the Catcher in the Rye J. However, at the same time he narrates more; through his many experiences, which he describes in the book, we can see the themes of the work. As shown earlier, Holden's fall gains momentum during his visit to Mr. Not only do the roles of hunter and prey resolve to be interchangeable, butthe very act of catching resolves to be its opposite: not catching.
We need to keep in mind that a the novel was published in 1951 and b its author was trying to imitate the linguistic habits of the young people of that era. This is half a century later. Historical Context The Catcher in the Rye was published at the beginning of the 1950s, a time when conservative values were flourishing in America. His encounter with a former dormitory proctor, Carl Luce, only reinforces his feelings of ineptitude and lack of maturing. A more analytical Holden might share this view, for Holden's experience at the end of Catcher is to witnessthe self-evident: that which lies beyond language or analysis. Like the fictional fallen record, the girl in the real song falls and is not caught.
His tragedy was that when he attempted to enter the human race, there was no human race there. I can corroborate, as a college student, 1949—1953, that those were features of the fashion of the day. Each of these characters is metropolitan in outlook and situation and is introverted: Their battles are private wars of spirit, not outward conflicts with society. But they are nonetheless human, albeit dehumanized, and constitute a fair average of what the culture affords. Feinberg wrote in an e-mail message. He, like his father and mother, is incapable of coping with the disaster.
And I was exactly like him. Finally, you see not with the world but with himself. Howard Bloom, in his introduction to J. Harry must come to grips with the death of his beloved parents, his own peculiar gifts, and the insidious evil that is omnipresent in his fantasy world and lodged in many of the elders with whom he associates. The fate is that of the American rebel-victim.