J. D. Salinger’s (January 1, 1919 – January 27, 2010) characters are always extremely sensitive young people who are trapped between two dimensions of the world: love and “squalor.” The central problem in most of his fiction is not finding a bridge between these two worlds but bringing some sort of indiscriminate love into the world of squalor: to find a haven where love can triumph and flourish. Some characters, such as the young, mixed-up Holden Caulfield, adopt indiscriminate love to aid them in their journey through the world of squalor, while others, such as Seymour Glass, achieve a sort of perfect love, or satori, and are destroyed, in Seymour’s case by a bullet through his head. 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. The characters’ minds struggle to make sense of the dichotomy between love and squalor, often reaching a quiet peace and transcending their situation through a small act.
Frederick L. Gwynn and Joseph L. Blotner, in The Fiction of J. D. Salinger (1958), offer an analysis of Salinger that claims he is the first writer in Western fiction to present transcendental mysticism in a satiric mode, or simply to present religious ideas satirically. Although much has been made of Salinger’s Zen Buddhism, the stories do not seem to be about applying Buddhist principles to modern life, nor do they present a clear and coherent statement of what these principles entail or signify. Holden Caulfield does not react as a Buddhist would, nor does he seek consolation from Buddhism. The Glass family may mention Buddhism, but because of their acquaintance with all religions and their high intelligence and hyperkinetic thirst for knowledge, Salinger suggests that they have picked and chosen aspects from various religions and created a composite of them all. If anything, Salinger’s characters seem to move toward a “perfect” Christian ideology—indiscriminate love.
The normality of the characters in Salinger’s stories is a primary attraction for readers. Holden Caulfield is no better or no worse than any young high school boy; he is merely a bit more articulate and honest in his appraisals, more open with his feelings. Even though the Glasses are brilliant, they are not cerebral or distanced from the reader because of their brilliance; and all the characters live in the same world and environment as the readers do. Their moments of pain and delight are the same as the readers’, but Salinger’s characters articulate these moments more naturally and completely.
Another element that draws readers into Salinger’s world is his use of satire. The satire not only touches upon the characters’ descriptions and reactions to the world but also touches on the characters themselves. Holden Caulfield’s confrontation with Maurice, the brawny Edmont Hotel elevator operator/pimp, shows not only the ridiculousness of the antagonist but also Holden’s stupidity for attempting to reason with him. Even if he does not realize it, Holden does many of the things that he tells readers he hates. He is critical enough, however, to realize that these things are wrong.
All of Salinger’s work has also a strong focus on the family; it is held as an ideal, a refuge, and a raft of love amid a sea of squalor. Although the family does not provide the haven that Salinger suggests it might, it is through coming home that the characters flourish, not by running away. Holden Caulfield, in The Catcher in the Rye, never realistically considers running away, for he realizes that flight cannot help him. At the critical moment his family may not be ready to grant him the salvation that he needs, but it is his only security. If the world is a place of squalor, perhaps it is only through perfect love within the family unit that an individual can find some kind of salvation. It is important to notice that the family unit is never satirized in Salinger’s fiction.
Analyzing The Catcher in the Rye
The basic story of The Catcher in the Rye follows the adventures of sixteen-year-old Holden Caulfield, an independent, self-indulgent, idealistic, and sentimental figure of adolescent rebellion, during a forty-eight-hour period after he has been expelled from Pencey Prep, the latest of three expulsions for Holden. After confrontations with some fellow students at Pencey, Holden goes to New York City, his hometown, to rest before facing his parents. During the trip he tries to renew some old acquaintances, attempts to woo three out-of-towners, hires a prostitute named Sunny, and copes with recurring headaches. Eventually, after two meetings with his younger sister, Phoebe, he returns home. At the beginning of the novel he has told us that he is in California recovering from an illness and that he is reconciled with his family. The entire story of Holden’s exploits comes to us through a first-person narration, one that contains youthful phrasing and profanity and has many digressions, but one that has a mesmerizing flow to it.
Holden Caulfield is a confused sixteen-year-old, no better and no worse than his peers, except that he is slightly introverted, a little sensitive, and willing to express his feelings openly. His story can be seen as a typical growing process. As he approaches and is ready to cross the threshold into adulthood, he begins to get nervous and worried. His body has grown, but his emotional state has not. He is gawky, clumsy, and not totally in control of his body. He seeks to find some consolation, some help during this difficult time but finds no one. The school cannot help him, his peers seem oblivious to his plight, his parents are too concerned with other problems (his mother’s nerves and his father’s business activities as a corporate lawyer). His girlfriend, Sally Hayes, who has a penchant for using the word “grand” and whom Holden calls the “queen of the phonies,” is no help, and his favorite teacher, Mr. Antolini, merely lectures him drunkenly. The only people with whom he can communicate are the two young boys at the museum, the girl with the skates at the park, and his younger sister Phoebe: All of them are children, who cannot help him in his growing pains but remind him of a simpler time, one to which he wishes he could return. Eventually, he does cross the threshold (his fainting in the museum) and realizes that his worries were unfounded. He has survived. At the end of the book, Holden seems ready to reintegrate himself into society and accept the responsibilities of adulthood.
Through Holden’s picaresque journeys through New York City, he grows spiritually. He slowly begins to recognize the “phoniness” around him and the squalor that constantly presses down on him. Although he castigates himself for doing some of the phony things, lying especially, Holden does realize that what he is doing is incorrect: This understanding sets him above his fellows; he knows what he is doing. Holden never hurts anyone in any significant way; his lies are small and harmless. Conversely, the phony world also spins lies, but they are dangerous since they harm people. For example, Holden mentions that Pencey advertises that it molds youth, but it does not. He is angry with motion pictures because they offer false ideals and hopes. Yet, his lies help a mother think better of her son. Like Huck Finn, he lies to get along, but not to hurt, and also like Huck, he tries to do good. Near the end of the novel Holden dreams of fleeing civilization and building a cabin out west, something that belies his earlier man-about-town conduct.
By the end of the book, Holden has accepted a new position—an undiscriminating love for all humanity. He even expresses that he misses all the people who did wrong to him. Although not a Christ figure, Holden does acquire a Christlike position—perfect love of all humankind, good and evil. He is not mature enough to know what to do with this love, but he is mature enough to accept it. In this world, realizing what is squalor and what is good and loving it all is the first step in achieving identity and humanity: Compassion is what Holden learns.
Recalling all the suffering and pain that he has witnessed, Holden develops a profound sense of the human condition and accepts Christ’s ultimate commandment. In the passage regarding Holden’s argument with his Quaker friend Arthur Childs, Holden argues that Judas is not in hell because Jesus would have had the compassion and love not to condemn Judas to hell. Also, Jesus did not have time to analyze who would be perfect for his disciples; thus, they were not perfect and would have condemned Judas if they had had the chance. In this discussion, Holden points out his own dilemma, not having time to analyze his decisions, and his belief in the perfect love that he embraces at the end of the book. Although not a would-be saint, Holden does become a fuller human being through his experiences.
The title symbol of the novel comes from Holden’s misreading of a line from a song of Robert Burns. Holden’s wish, as expressed to his sister, is to be a catcher in the rye, one standing beneath a cliff waiting to catch any child who falls over it: He seeks to spare children the pain of growing up and facing the world of squalor. He also hopes to provide some useful, sincere activity in the world. The catcher-in-therye job is one that Holden realizes is impractical in the world as it is. Only by facing the world and loving it indiscriminately can anyone live fully within it and have any hope of changing it.
In the novel, Holden is also constantly preoccupied with death. He worries about the ducks in Central Park’s lagoon freezing in the winter, about Egyptian mummies, and about his dead brother Allie. He cries to Allie not to let him disappear. This symbolizes Holden’s wish not to disappear into society as another cog in the great machine, and his desire not to lose what little of himself he feels that he has. To Holden, the change from childhood to adulthood is a kind of death, a death he fears because of his conviction that he will become other than he is. This fear proves groundless by the end of the book. His name also provides a clue: Holden—hold on. His quest is to hold on to his adolescent self and to save other children from the pain of growth. His quest fails, but his compassion and the growth of his humanity provide him with better alternatives.
Regarding sex, Holden tends to be puritanical. His trouble lies in the fact that he begins to feel sorry for the girls he dates, and he has too much compassion for them to defile their supposed virtue. This problem ties in with his compassion: He tries to see people as they are and not as types. He looks quickly and may make rash judgments, but once he talks to or acquaints himself with someone, he sees him or her as an individual. His mentioning of the boring boy he knew in school who could whistle better than anyone is the perfect example: Holden cannot help but confront people as individuals. Again, this shows his growing compassion and indiscriminate love. He sympathizes with the girl’s position, which is a very mature quality for a teenager. At Pencey, for example, he wants to protect a childhood friend named Jane Gallagher fromWard Stradlater, remembering that she always kept her kings in the back row in checker games and never used them.
The Catcher in the Rye also reflects the art of a maturing author. Although there is no indication that Holden will become a novelist, there are clues scattered throughout the novel that he has an artistic sensibility. His sensitivity, his compassion, his powers of observation, and his references to himself as an exhibitionist are several such clues.
Later, Salinger more fully develops the contrast between squalor and love in the world and reintroduces various elements of his Caulfield family saga in his grand design of charting the story of the Glass family. The compassion, the satire, the heights of perfect love, the love of the family unit, and the use of brilliant conversational language that characterized Salinger’s great novel, The Catcher in the Rye, will continue to set his fiction apart.
Principal long fiction • The Catcher in the Rye, 1951.
Short fiction: Nine Stories, 1953; Franny and Zooey, 1961; Raise High the Roof Beam, Carpenters, and Seymour: An Introduction, 1963.
Source: Notable American Novelists Revised Edition Volume 1 James Agee — Ernest J. Gaines Edited by Carl Rollyson Salem Press, Inc 2008.