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Author: J.D. Salinger
Title: The Catcher in the Rye
Original copyright year: 1951
Genre: Fiction
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Date of e-text:
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Catcher in the Rye  J. D. Salinger
---------------------------------------------------------
                                      1951

                                J. D. SALINGER'S
                             THE CATCHER IN THE RYE

                                by Joseph Claro

                                 SERIES EDITOR
                                 Michael Spring
                           Editor, Literary Cavalcade
                                Scholastic Inc.

                                ACKNOWLEDGMENTS
        We would like to acknowledge the many painstaking hours of work
       Holly Hughes and Thomas F. Hirsch have devoted to making the Book
                            Notes series a success.

            (C) Copyright 1984 by Barron's Educational Series, Inc.

   Electronically Enhanced Text (C) Copyright 1993, World Library, Inc.

CONTENTS
                               CONTENTS
                  SECTION.......................... SEARCH ON

          THE AUTHOR AND HIS TIMES................. SCATAUTH

          THE NOVEL
          The Plot................................. SCATPLOT
          The Characters........................... SCATCHAR
          Other Elements
               Setting............................. SCATSETT
               Themes.............................. SCATTHEM
               Style............................... SCATSTYL
               Point of View....................... SCATVIEW
               Form and Structure.................. SCATFORM
          THE STORY................................ SCATSTOR

          A STEP BEYOND
          Tests and Answers........................ SCATTEST
          Term Paper Ideas......................... SCATTERM
          The Critics.............................. SCATCRIT

          Advisory Board........................... SCATADVB

          Bibliography............................. SCATBIBL

AUTHOR_AND_HIS_TIMES
                       THE AUTHOR AND HIS TIMES             (SCATAUTH)
-
  J. D. Salinger shares at least one important trait with his
character Holden Caulfield- a powerful urge to separate himself from
society.
  Holden, the chief character of The Catcher in the Rye, tells us that
he wants to live on the edge of the woods; Salinger realized this
dream by retreating to a small farm town in New Hampshire, where the
townspeople seem as devoted to his privacy as he is himself. There, in
Cornish, Salinger has been able to escape the distractions of the
literary world and to avoid people who have sought to capitalize on
his instant fame following the publication of The Catcher in the Rye
in 1951.
  Little is known about Salinger's life since he moved to Cornish.
Local residents enjoy protecting Salinger's anonymity, and
interviews with them typically have produced bland, noncommittal
responses that make Salinger sound about as interesting as last
month's newspaper. Salinger himself refuses to be interviewed.
  The facts of Salinger's earlier life, however, are on the record.
Jerome David Salinger was born in New York City in 1919, the son of
a prosperous importer of meat and cheese. He was a mediocre student in
the public school he attended, and after he flunked out of the private
McBurney School, his parents sent him to Valley Forge Military Academy
in Pennsylvania.
  He later spent less than a month at New York University and then
took a short-story course at Columbia University. His first story
was published in 1940. From 1942 to 1946 he was in the Army,
continuing to write "whenever I can find time and an unoccupied
foxhole." He returned to New York in 1946, and in the next few years
had stories published in various periodicals, notably The New Yorker.
  In 1953 Salinger met Claire Douglas, a British-born Radcliffe
student. She apparently became the model for more than one of his
characters. They were married two years later, and they have two
children, Margaret Ann, born in 1955, and Matthew, born in 1960.
They were divorced in 1967.
  Salinger's later published works have all been stories. Most of them
deal with the children of the Glass family, who, like Salinger, have a
Jewish father and a Christian mother. These stories have been
collected in Nine Stories (1953); Franny and Zooey (1961); and Raise
High the Roof Beam, Carpenters and Seymour: An Introduction (1963).
All three books received considerable critical praise and were very
popular.
  Salinger's published literary output declined over the years. By the
early 1980s, he had not published a work in some twenty years.
Still, he is considered one of the most vital writers of the
century. His reputation rests largely on The Catcher in the Rye.
-
  In Chapter 12 of The Catcher in the Rye, Holden Caulfield is at a
bar listening to a jazz piano player whose work he enjoys. The
applause from the audience, and the musician's acceptance of it,
lead Holden to say: "I swear to God, if I were a piano player or an
actor or something and all those dopes thought I was terrific, I'd
hate it. I wouldn't even want them to clap for me.... I'd play it in
the goddam closet."
  When you think of the life that Salinger chose while he was still
a young man with a promising literary future, you realize that these
sentences express his worldview as much as Holden's. Careful readers
of Salinger's fiction have found many other statements that might also
be the sentiments of a man who deserted fame in order to be able to
work on his own.
  It's not only the feelings about fame that the author and his
character have in common. Salinger has often said that children are
the best people he knows, a statement that Holden would happily
echo. Salinger left New York City primarily because he found its
literary circles at best unsatisfying; Holden can't stand being
surrounded by phonies everywhere he goes.
  Salinger grew up in New York City, and so did Holden. Salinger
went to a prep school, and so does Holden. Like Holden, Salinger was a
bright child whose grades in school were not an accurate reflection of
his intelligence. It's clear from The Catcher in the Rye and his other
works that Salinger is one of those writers whose works seem to flow
directly from experience. He tends to write about familiar
territory. But this is far from saying that his characters are
strictly autobiographical.
  In addition, this kind of information is of less importance to a
reader of the novel than it is to a biographer. If you were doing
research for a biography of Salinger, it could be vital for you to
learn that one of his characters was based on a real person. But
it's almost irrelevant to an enjoyment of the novel.
  To many contemporary readers encountering it for the first time, The
Catcher in the Rye fits neatly into a classification called Young
Adult Fiction. This is a category that includes serious novels dealing
with teenage characters, and written with a teenage reading audience
in mind.
  Lumping Salinger's book together with thousands of others in this
category, however, doesn't do justice to The Catcher in the Rye.
When the book was published in 1951, there was no such category as
Young Adult Fiction. Salinger attracted the attention of the reading
audience because he was breaking new ground.
  Not only did The Catcher in the Rye have a teenager for a central
character; he spoke in a manner that was easily recognizable as
genuine, and he talked about matters that were serious enough to
make even the most complacent reader a bit uncomfortable. One of those
matters was his inability to fit into the world of adults.
  Such books may be very common today, but in 1951 a teenager
talking about his innermost concerns was considered a somewhat
eccentric literary device- a reviewer for The New York Times didn't
even take the book seriously.
  Salinger's novel was definitely a groundbreaker in its field. As you
read it, try to envision the impact this novel had on its first
readers back in 1951. If you're like most readers then, you'll learn
much about yourself as well as about Holden Caulfield as you explore
the world of The Catcher in the Rye.

THE_PLOT
                              THE NOVEL
-
                               THE PLOT                     (SCATPLOT)
-
  If you think of a plot as a series of events that build one on
another toward a climax, then the plot of The Catcher in the Rye is
one of its least significant aspects. It can be summarized in a few
paragraphs, but the summary will give only an indication of what the
novel is about.
  Holden Caulfield is a sixteen-year-old prep school student who has
flunked out of school the week before Christmas. Several days before
he's expected home for Christmas vacation, he leaves school,
planning to spend some time on his own in New York City, where he
lives.
  Though Holden is friendly with many people at school, and though
he has several friends in New York, he's constantly lonesome and in
need of someone who will sympathize with his feelings of alienation.
  The person Holden feels closest to is his ten-year-old sister,
Phoebe, but he can't call her for fear of letting his parents know
he has left school. He spends his time with a variety of people, but
he can't make meaningful contact with any of them.
  After a day of this futility, he sneaks into his home to see Phoebe,
but she disappoints him by being annoyed at his being expelled from
still another school. Holden decides that the only solution to his
overwhelming problem is to run away and establish a new identity as
a deaf mute who will not need to communicate with anyone.
  On the verge of a nervous collapse, Holden changes his mind and
decides to rejoin his family. He then enters a hospital or rest home
not far from Hollywood, California, and he is telling us his story
while in this institution. At the novel's close, Holden isn't sure
whether he'll be able to handle things better when he leaves the
institution, and he's sorry he told his story at all.
  Those are the bare bones of the story, but there's much more to
The Catcher in the Rye than its story. It's a rich psychological
portrait of a boy who's frightened at the prospect of growing up, a
boy who has few of the tools necessary to face the world on his own.
Although the book takes place during only three days, it is as much an
autobiography as anything else, because Holden constantly digresses to
tell us about things that happened long before this period in his
life. Because of Salinger's skill in describing someone in just a
few sentences, we also meet several characters who are instantly
recognizable.
  The Catcher in the Rye has an intriguing story. And it also contains
marvelous character portraits; a statement on the relationship of
outsiders to society; a psychological analysis of the process of
growing up; and many more things, which you'll discover as you read
it.

THE_CHARACTERS
                            THE CHARACTERS                  (SCATCHAR)
-
  HOLDEN CAULFIELD
  Holden is the sixteen-year-old son of wealthy parents who live
near Central Park in New York City. He is telling the story from a
rest home or hospital near Hollywood. Holden has just flunked out of
his third prep school, an event he tries without success to feel badly
about. Because of his age, school should be the most important
institution in his life, but Holden has no use for it. Although he's
intelligent and fairly well read, school represents repression to him;
it stands for the "phony" standards and values he hates.
  Holden is sensitive, probably too sensitive for his own good, and he
suffers from an almost uncontrollable urge to protect people he sees
as vulnerable. He is attracted to the weak and the frail, and he
"feels sorry for" losers of all kinds, even those who cause him
pain, discomfort, or trouble. But the main focus of Holden's
protective instinct is children, whom he sees as symbols of goodness
and innocence, and whom he would like to shield against corruption.
  One sign of corruption in Holden's worldview is the process of
growing up, since it removes us from the perfect innocence of
childhood. He has a daydream about children who never grow up, who
remain in that perfect world forever, and his own problems of facing
the real world are linked to that daydream.
  Holden is essentially a loner, but not because he dislikes people.
His loneliness arises from the fact that no one seems to share his
view of the world, no one understands what's going on in his head. His
poor academic record is one indication of his failure to deal with
this problem, a problem that builds to a climax in the course of the
novel.
-
  PHOEBE CAULFIELD
  Phoebe is Holden's ten-year-old sister, a bright and articulate girl
who sometimes talks to Holden as though she were older than he.
She's one of the few people he feels great affection for, and he talks
about her with obvious delight. She's the personification of
Holden's idealized view of childhood, and she seems actually to
possess all the wonderful qualities Holden ascribes to her. The
problem for Holden is that she's a real person, not an idealization,
and she's already showing signs of the process of growing up. Phoebe
appears in person very late in the book, but she plays a central
role in Holden's thoughts, and has much influence on what happens to
him at the end of the novel.
-
  ALLIE CAULFIELD
  Allie was Holden's younger brother. He died in 1946, three years
before the events in the novel. As with Phoebe, Holden has idealized
the brother he loved very much; unlike Phoebe, Allie's personality
is frozen in memory, and he'll never face the corruption of growing
up. Holden talks about Allie in the same loving terms he uses for
Phoebe, and he even talks to his dead brother in moments of stress.
-
  D. B. CAULFIELD
  D. B. is Holden's older brother, another family character we never
see, although Holden mentions him often. In the book's opening
paragraph Holden tells us that D. B. is a writer of short stories
who's now "out in Hollywood... being a prostitute"- that is, not being
an honest writer.
-
  MRS. CAULFIELD
  Holden's mother makes a brief appearance late in the book, but we
never see her together with her son. She appears to be a high-strung
woman, a condition Holden relates to Allie's death. She seems not to
be very interested in Phoebe's activities, and the same is probably
true of Holden's.
-
  MR. CAULFIELD
  We never see Mr. Caulfield, and we know very little about him.
He's a successful corporation lawyer. His interest in Holden's welfare
extends at least far enough for him to have discussed the matter
recently with one of Holden's former teachers.
-
  JANE GALLAGHER
  Jane is a girl Holden spent the summer with eighteen months before
the start of the story. Though she's about two years older than he is,
her shyness and insecurity awakened Holden's protective instincts. She
symbolizes innocence in Holden's mind, as Phoebe and Allie do.
Holden hasn't seen Jane since that summer, but he remembers her fondly
as the shy girl who kept all her kings in the back row when they
played checkers. Although she never appears in the book, she helps
precipitate the book's first crisis, when Holden's womanizing roommate
has a date with her. Holden talks about contacting her throughout
the book, but he never does.
-
  WARD STRADLATER
  Stradlater, Holden's roommate at school, is likable and outgoing,
handsome, athletic, and very attractive to girls. He's not sensitive
to people's feelings, and in Holden's mind he represents a class of
successful people who live by false values and take advantage of
others. Holden becomes very upset when he learns that Stradlater has a
date with Jane Gallagher, and the situation ends in a fist fight.
-
  ROBERT ACKLEY
  Ackley lives in the room next to Holden's at school. He's
consistently nasty. Holden understands that Ackley's offensiveness
stems from insecurity, but that doesn't make him any easier to get
along with.
-
  SALLY HAYES
  Sally is a good-looking but shallow girl Holden has dated in the
past, and one of several people to whom he reaches out for help.
Like Stradlater, Sally represents the phony values Holden hates, but
her physical attractiveness leads Holden to put his principles
aside. He tries to explain to her what's happening in his life, but
she's incapable of relating to his problems. Even though he hates
everything she stands for, Holden proposes marriage to her in a moment
of extreme weakness.
-
  CARL LUCE
  Luce is a college student who used to be a senior adviser to
Holden when they both attended the same prep school. Luce was
notorious for holding discussions on sex with younger students; Holden
suspects he might be a homosexual. Though Holden hasn't seen him in
a long time, he calls Luce in his desperate need to talk to someone.
-
  MR. SPENCER
  Mr. Spencer, an older history teacher at Pencey prep, is concerned
about Holden's academic failure. He invites Holden to his home to talk
things over, but the conversation is a disaster. Though Spencer's
concern is genuine, he doesn't have an inkling of what Holden is like,
and all he can offer are cliches and slogans as advice.
-
  MR. ANTOLINI
  Mr. Antolini is a former English teacher of Holden's. Like
Spencer, he's concerned about Holden's welfare, but his interest is
more personal than Spencer's. (At one point Holden thinks it's too
personal.) Antolini is young and understanding, and he seems to have
an idea of what's bothering Holden.

SETTING
                            OTHER ELEMENTS
-
                               SETTING                      (SCATSETT)
-
  The physical action of the book takes place in 1949 at two
locations. The first seven chapters- about one quarter of the book-
are set at Pencey Prep, a private school for boys in eastern
Pennsylvania. Then Holden takes a train ride, and the rest of the book
takes place in New York City.
  New York City, though, isn't a very accurate description of the
major setting. It's actually Manhattan, but even that doesn't narrow
it down enough, because Holden's adventures take him through only a
fraction of Manhattan, a section less than four miles long and
probably half as wide.
  Add to this the fact that Holden gives very little description of
most of the places where he goes, and you have a novel that seems to
have no real setting. But that isn't the case at all.
  In the first place, Holden gives some description of each place he's
in, but he does it in the casual, throwaway manner that
characterizes most of his speech. It's so casual, in fact, that you
may not even be aware of reading a descriptive passage.
  Second, Holden describes his surroundings when they're important
to him. You may find yourself looking forward to visiting the American
Museum of Natural History after he's told you about it. He paints a
memorable picture of the carousel in Central Park when Phoebe
decides to take a ride. He does the same for Fifth Avenue on a
shopping day before Christmas.
  These descriptions are less important than in most novels. The
Catcher in the Rye could take place almost anywhere in the United
States (and in many places throughout the world). That's because the
true setting of the book is Holden's mind. Critics say such a book
is an interior monologue or that it employs the
stream-of-consciousness technique.
  So many incidents in The Catcher in the Rye took place before the
weekend we're spending with Holden, so much of what has deeply
affected him happened years earlier, and such an important part of his
life goes on inside his head, that the present physical setting
becomes almost incidental to the story being told.
  As for the time the story takes place, don't even think about it
during your first reading. (There's a good chance that you'll want
to read it again.) Except for a few minor references, which are
pointed out as they appear in the story (see The Story section of this
guide), the book reads as though it were written very recently. That's
one of the reasons why people are still reading it after all these
years.

THEMES
                                THEMES                      (SCATTHEM)
-
  When you're talking about a novel that says something significant
about how people live, it's a mistake to use a sentence that begins,
"The theme of this novel is..." A good novel doesn't have only one
theme. Good novels are about many things and have several themes.
  The Catcher in the Rye is no exception. It can be read in several
different ways, and every reading can be rewarding. You might get
one message from your first reading and an entirely different
message from a second reading five or ten years from now.
  Here are some statements that have been made about the novel.
Think about them as you read. After you've finished, decide how
accurate you think each of them is in capturing the essence of the
book.
-
  1. It is a novel about a disturbed teenager. Holden can't cope
with people, with school, or with everyday problems that people his
age must face. He avoids reality by living a fantasy life, and every
forced contact with reality drives him deeper into himself.
According to this analysis, he is anything but a typical teenager, and
he certainly isn't a good role model for young people.
  2. It is about a teenager who refuses to grow up. He has a
fixation on childhood, which shows itself in his glorifying of
children, his inordinate admiration of his younger sister, his
idealization of his dead younger brother, and the joy he gets from
reminiscing about his own childhood. He brings on his illness so he
won't have to face his approaching adulthood.
  3. It is a comment on the insensitivity of modern society. Holden is
a hero who stands against the false standards and hypocrisy that
almost all others accept. As much as he would like to accept the world
and be comfortable like almost everyone else, he can't pretend that
his society is worthwhile.
  4. It is a comic novel about the way the adult world appears to an
intelligent literate teenager. Holden subjects everyone he meets to
a probing examination; and almost everyone fails. His comments are
more about human nature in general than about individual people, which
helps explain why the book remains popular.
  5. It is about a boy who struggles to remain faithful to what he
sees as the truth. His version of truth, however, is very
subjective, and not necessarily correct. In his mind even good or
beautiful things can be tainted because of the true motives of their
creators.

STYLE
                                STYLE                       (SCATSTYL)
-
  In one sense, Salinger was trying to capture the speech patterns
of a typical teenager of the 1950s. But language reveals character,
and the manner in which Holden expresses himself also gives us many
important insights into his personality. His loose, rambling
expressions reflect his own inner confusion. He often seems
unwilling or afraid to say exactly what he feels, first, because he
doesn't know what he feels, and, second, because he's afraid of
revealing himself to a world that is either indifferent to him or
ready to tear him apart. His language is trite, imprecise, and
imitative because of his own lack of self-determination, and because
of his inability or unwillingness to communicate with others. His
use of the word "really" (as in "It really is") and his repetition
of the expression, "if you want to know the truth," reflect his
commitment to sincerity, and his drive to dissociate himself from
the so-called phonies, who use language to hide from their feelings.
  As you read, you'll notice that Salinger frequently italicizes
words. This is part of his attempt to accurately duplicate speech
patterns- an italicized word is one that is emphasized or stressed
when spoken. (Remember that the whole book is really a monologue- an
interior monologue- spoken by Holden.) Salinger was one of the first
writers in English to frequently use italics to indicate regular
spoken emphasis- not just a loud voice or a scream. Many writers
have since used the technique.

VIEW
                            POINT OF VIEW                   (SCATVIEW)
-
  As is generally true of a work of fiction told in the first
person, we learn about all the events and characters through the
eyes of the narrator. This subjective point of view has added
significance in The Catcher in the Rye. "The setting of the book,"
we suggested earlier in this guide, "is Holden's mind" The point of
view is an integral part of Salinger's exploration of that mind. The
first-person narration invites a reader to share Holden's feeling that
he's an outsider observing a world he can't accept- or completely
reject. The reader should be aware, however, that the narration is
slanted and may not report matters accurately.

FORM
                          FORM AND STRUCTURE                (SCATFORM)
-
  Holden tells his story in a series of flashbacks, or digressions.
There is nothing logical or orderly about the way a person's memory
works, and so Holden's mind drifts in and out of the past, dwelling on
moments that often seem to bear little relationship to each other.
Like a patient on a psychiatrist's couch, he lets his mind take him
where it will. One memory- one emotion- triggers another, and it's
up to us as readers to try to discover the relationship between them.
  Some readers have suggested that these flashbacks signify Holden's
inability to deal with the world he lives in. Others say they
reflect his introspective personality; still others say they are a
sign that Holden's grip on reality is loosening, and that he can no
longer distinguish between past and present.
  While you're reading The Catcher in the Rye it's easy to forget that
Holden is telling the story from a hospital bed, and that he's there
because of the events he tells us about in the book. In the first
paragraph of the novel he says that these events "happened to me
around last Christmas just before I got pretty rundown and had to come
out here and take it easy." It isn't until the last chapter of the
book that we see another reference to the place where he's
recuperating.
  This hospital (or rest home) setting is the overall structure on
which the story is built. Some people have said that Salinger used
this structure to identify Holden as a misfit, a person who can't
cope, someone who needs professional help to deal with life's
problems.
  Others have said that this structure simply sets Holden apart from
everything he's experienced, that it distances him from the people and
events he tells us about.
  Within that structure the story itself divides neatly into three
parts. The first part has Holden at Pencey, preparing to leave on
his own before he's formally expelled.
  In this first section Holden tells us about two of the three
important people in his life- his dead brother Allie and Jane
Gallagher. Although she never appears, Jane plays an important role in
this section because she's on a date with Holden's roommate. In
fact, you could argue that the fight he has over her with his roommate
is the real reason he decides to leave school on Saturday night.
  Chapter 8 serves as a transition from Pencey to New York City. The
second part of the book, which begins with Chapter 9, has Holden
trying to find someone he can talk honestly with, someone he can
make contact with, someone who will understand what's bothering him.
  This is also the section in which we learn about Phoebe, the other
important person in Holden's life. By the end of this section, in
Chapter 20, Holden is more alone than ever before, he's close to
hysteria, and he's thinking about what a relief death would be.
  When Holden decides to go home and visit Phoebe, the novel enters
the third and final section. In this section Holden has to face some
ugly truths that he's been trying hard to avoid- truths about his
sister, about childhood innocence, and about himself.
  When the third section reaches a climax in Chapter 25 we're abruptly
brought back to the outside structure of the novel, the bed from which
Holden is speaking. It's in this outside structure, from a vantage
point several months and several thousand miles away, that Holden
makes his final comments on the whole matter.

CHAPTER_1
                              THE STORY                     (SCATSTOR)
-
                              CHAPTER 1
-
  Who is this person talking to us so casually in the opening
sentences of the novel? We don't know his name, how old he is, where
he's from. In fact, he dismisses such information as "all that David
Copperfield kind of crap," and begins talking about himself
reluctantly, as though our need to hear his story is much stronger
than his need to tell it.
  We don't even know it's a boy talking until he mentions an ad his
school runs in "about a thousand magazines" claiming that they turn
boys into young men. We won't know his first name until his visit to a
teacher at the end of the chapter, and we'll have to wait even
longer to find out his last name.
  No, he isn't going to give us anything as formal as an
autobiography. All he wants to do is tell about "this madman stuff"
that resulted in some kind of illness, from which he's now
recuperating in a place not far from Hollywood, California.
-
---------------------------------------------------------------------
  NOTE: As you read on and get to know Holden, you'll begin to see
that he tends to dismiss many important things with throwaway
phrases like "this madman stuff." It's a way of downplaying things
that bother him; it makes him seem untroubled by things; it's a way of
sounding tough, something that's important to many teenage boys.
---------------------------------------------------------------------
-
  Holden talks briefly about his brother, D. B., whom he obviously
admires. He's pleased that his brother visits him often. He likes D.
B.'s sports car and the fact that he's rich, and Holden's really proud
of a published collection of D. B.'s short stories. But a tough guy
can't say things like that about someone without backing off a little,
so Holden ends by saying that his brother is in Hollywood, being a
prostitute- using his talent to make money, instead of creating
beautiful stories.
  We get all this information- directly or by implication- in a single
paragraph. As is often true with people we've just met, the way Holden
talks tells us at least as much about him as what he says. His
language tells us that he doesn't want to be mistaken for someone
soft, even when he's expressing affection for his brother.
  His language also tells us that he doesn't want to be thought of
as one of those "splendid, clear-thinking young men" his school claims
to mold. Sure, he's read Dickens' novel David Copperfield, and
you'll soon find that he's read- and appreciated- much more than that.
But he doesn't want anyone to think he's a "brain," so he'll remind
you from time to time what a terrible student he is.
  As he begins his story about the "madman stuff," Holden is
standing alone on a hill, looking down at a football game attended
by almost everyone from his school. He's wearing a red hunting hat
that further sets him apart from everyone else at school. Hold onto
this image of him as a loner, apart from the group he's supposed to
belong to. It will help you understand much of what is to come.
  One of the reasons Holden is alone during the football game is
that he's preparing himself for an unpleasant chore. He's going to
visit his history teacher before leaving for Christmas vacation,
because he isn't coming back to school.
  "I forgot to tell you about that," he adds casually. "They kicked me
out."
  This is another example of the way Holden tries to distract
attention (his as well as yours) from large issues. Being expelled
from school would be an important event in anyone's life, and you'll
see that it's one of the causes of "this madman stuff" Holden says
he's going to tell us about. Yet he tells us he "forgot" to mention
it.
  Holden fires a couple of generalizations at us in this chapter.
You might want to stop and think about them, because he does this
throughout the book.
  The first kind of generalization is the one he uses when he's trying
to make a point, the kind someone would use in an argument. Somebody
stole his expensive coat and gloves, and he tells us it's the type
of thing you'd expect at Pencey. "The more expensive a school is,
the more crooks it has," he concludes. This kind of generalization
is usually amusing, because it's an overstatement. But it also often
has some truth to it.
  The second kind of generalization Holden frequently uses may
sometimes puzzle you and at other times have you saying, "Right, I
know exactly what he means!" There's an example of it when he's
talking about running to Mr. Spencer's house: "It was that kind of a
crazy afternoon," he says, "terrifically cold,... and you felt like
you were disappearing every time you crossed a road."
  Exactly what is Holden talking about when he says something like
that? He's describing a very personal, private feeling he's had, maybe
more than once, and he's trying to make it sound like something
everyone experiences.
  Probably no one has experienced exactly what he's referring to,
but you might have had that type of feeling. So, even if his details
sound a bit strange, the point he's making with these
generalizations usually comes across clearly.
-
---------------------------------------------------------------------
  NOTE: Think about how much information Salinger has packed into this
seemingly informal opening chapter. Holden may appear to be
rambling, giving you random tidbits about himself and constantly
wandering off into digressions. But consider how much you already know
about him:
-
  * He's in a health facility, being treated for a condition that
probably resulted from "all this madman stuff," and that might have
been complicated by a close brush with tuberculosis ("I practically
got t.b.").
  * The comments he makes at the very beginning about his parents tell
you he probably doesn't get along very well with them.
  * His camel's-hair coat and the fact that he goes to Pencey tell you
his family has money. The fact that he feels it necessary to mention
that the Spencers don't have a maid tells you that his family may be
quite wealthy.
  * His reaction to Selma Thurmer suggests that he's willing to
delve beneath someone's appearance or outward behavior, though he
might deny that because it doesn't sound tough.
  * His willingness to visit a teacher he'll never see again- as
much as he doesn't want to go- suggests a sense of responsibility.
-
  Other things are also hinted at in the first chapter. If you take
another look at it you'll discover things that are subtly suggested,
rather than stated outright.
  Salinger is aiming here for a true-to-life, three-dimensional
portrait of a teenager many of us recognize. Holden doesn't especially
want to tell us about himself, so we have to find out a great deal
indirectly. Salinger's success depends partly on how intelligently you
read what he has written.
---------------------------------------------------------------------

CHAPTER_2
                              CHAPTER 2
-
  This chapter gives us a good picture of how Holden sees himself,
especially in relation to the adult world. In talking with his history
teacher, Mr. Spencer, Holden constantly swings back and forth
between what Spencer wants to hear and what he himself feels to be
true.
  He gives us a short sketch of Spencer as a man he thinks is too
old to still be living, much less teaching. But then he admits that
even people as old as the Spencers can enjoy things as simple as
buying an authentic Navajo blanket.
-
---------------------------------------------------------------------
  NOTE: This sudden reversal illustrates another of Holden's
interesting characteristics- his need to look at both sides of a
question, even when he seems to have a strong opinion favoring one
side. This trait keeps him from totally disliking anyone, because as
soon as be becomes angry at someone, he thinks of the person's human
side and tempers his opinion. The same characteristic keeps him from
deciding many things about himself.
---------------------------------------------------------------------
-
  Holden has come to the home of his history teacher, who is sick in
bed, even though he knew in advance that he wouldn't enjoy the
visit. still, he wasn't prepared for just how depressing the scene
would be, and he regrets coming as soon as he walks into Spencer's
bedroom. Throughout the visit Holden is uncomfortable and eager to
leave.
  As he talks with his teacher, Holden often mimics both the speech
and the sentiments of adults. When he says he hasn't "communicated"
with his parents, for example, he uses a word from Spencer's question,
not from his everyday vocabulary. He does this often when he's talking
with adults, not to impress them, but to hide his feelings of
inferiority.
  When he mimics adult sentiments, however, he uses them as a
protective shield for his real feelings. Read what he says about Dr.
Thurmer's comment that life is a game; then read how he really feels
about that comment.
  Why does Holden pretend to agree that life is a game when he feels
so strongly that it isn't? Is it because he wants Mr. Spencer to think
he's not such a "bad kid" after all? Or does he want to avoid
arguing with Spencer (and with Thurmer) for some reason? As you
learn more about Holden, you'll begin to form an opinion on that
question and others like it. At this point it may be too early for you
to tell.
  Although Holden doesn't believe that life is a game, he does hold
himself responsible for not measuring up like everyone else he
knows. He berates himself for having "a lousy vocabulary," for
acting young for his age, and for displeasing teachers like Spencer.
He goes his own way often enough to have been expelled from four
schools, but something inside him keeps telling him that he should
be doing what other people do. You'll want to keep this personality
conflict in mind as you read.
-
---------------------------------------------------------------------
  NOTE: In this chapter Holden picks up on something he mentioned only
briefly before, a topic he'll return to again and again. The topic
is phonies.
  He told us in the first chapter that Pencey Prep's ad campaign was a
phony, "strictly for the birds." Early in this chapter he's caught
short by the word grand, a word he says he hates because it's a phony.
  When Spencer mentions one of Holden's earlier schools, he decides
not to try to explain his trouble there to Spencer because it
"wasn't up his alley at all." He was "surrounded by phonies" at that
school, Holden tells us, and his teacher wouldn't understand what he
meant by that.
  Even the headmaster was a phony there because he wouldn't spend much
time with "little old funny-looking parents" on visiting day. Holden
calls people phony because they are less perfect than he wants them to
be. He is also at an age where it is easier to judge people than to
try to understand them.
  Holden's urge to protect the weak and vulnerable leads him to wonder
(while he's giving Spencer "the old bull" about what a terrible
student he is) about the ducks on the pond in Central Park in New York
City. What happens to those ducks when the pond freezes during the
winter? Does someone take care of them, or do they fly to a warmer
climate? Like all sensitive adolescents, Holden has come to
recognize the existence of sorrow and suffering in the world, and
refuses to accept its inevitability.
---------------------------------------------------------------------

CHAPTER_3
                              CHAPTER 3
-
  Going into his dormitory after leaving Mr. Spencer gives Holden
another opportunity to expose the phoniness he sees all around him.
This time he talks about a Pencey graduate named Ossenburger, for whom
Holden's dorm is named. Holden is more amused than angered by
Ossenburger. In fact, you'll find that most of his descriptions of the
phonies he hates are filled more with wisecracks than with angry
statements.
  He reaches his room and settles down to read a well-known serious
book, Out of Africa, about life in East Africa. Mention of the book
gives him the opportunity to knock himself once again, this time
with a sentence that contradicts itself. "I'm quite illiterate, but
I read a lot."
  The contradiction underlines Holden's problem with his self-image.
Someone who reads a lot can't be illiterate, by definition. But Holden
is using the word to express other people's standards. What he means
is, "I don't read what they want me to read, but I read a lot."
  Here is the same personality conflict we saw in the last chapter.
Holden knows what he wants to do, and he usually does it. That
should make him feel good about himself. But adults keep telling him
what they want him to do, and he can't shake the belief that not being
able to please adults makes him a failure.
  Holden comments that he would like to be able to talk on the
telephone with authors of books he has enjoyed reading. This says
something about how he personalizes things that happen to him, even
something as impersonal as reading a book. This tendency is an
important part of his makeup, and it becomes one of the causes of
his illness later on.
  Holden's solitary reading is interrupted by the entrance of Robert
Ackley, a senior who lives in the next room. Ackley is a social
"loser," not very pleasant looking, not very clean, and "sort of a
nasty guy." (One of his problems is pimples. Does Salinger
deliberately give him a name that sounds like "acne"? Probably not;
most of the other characters have names that don't seem to signify
anything.) Ackley is universally disliked, so it's no surprise that
he, like Holden, is not at the game. (Holden would probably argue that
he was alone by choice, but that a social misfit like Ackley was alone
by necessity.)
  One of Ackley's less endearing characteristics is his intrusiveness;
once he's in Holden's room, he isn't about to leave. Their
conversation is a comical collage of sarcastic (though not
particularly witty) remarks, tough-guy cover-ups for feelings of
insecurity, and horsing around, at least on Holden's part. In other
words, it's a faithful re-creation of thousands of conversations
that take place between teenage boys every day.
  By now you should have developed some respect for Salinger's ability
to capture the sounds of real speech. Because the story is told in the
first person, every sentence in the book shows evidence of that
ability. But when he deals with dialogue, as in this chapter,
Salinger's job becomes a little more difficult because he has to
capture the sounds of more than one person at a time. If you read
the dialogue aloud you'll discover that none of the other characters
in the book talks the way Holden does.
-
---------------------------------------------------------------------
  NOTE: Every once in a while something will remind you that the
action is taking place not now, but around 1950. In his talk with
Ackley, for instance, Holden sarcastically tells Ackley what a good
sense of humor he has and offers to get him "on the goddamn radio."
The reference to radio instead of television might jolt you a bit,
just as you might have been surprised on the first page when Holden
brags that his brother has a Jaguar that cost him "damn near four
thousand bucks."
---------------------------------------------------------------------

CHAPTER_4
                              CHAPTER 4
-
  In Chapter 3 Holden told us about someone he doesn't like- Ackley-
who intruded on his privacy and generally made a nuisance of
himself. Holden's feelings are easy to understand, because Ackley
doesn't do much to endear himself to anyone.
  In this chapter Holden talks with his roommate, Ward Stradlater.
He agrees to write a descriptive composition for Stradlater. Though
Stradlater isn't exactly a friend, he is someone Holden gets along
with. Even so, Holden finds it as easy to criticize Stradlater as he
does Ackley.
  Although Holden talks about Stradlater in a friendlier way than he
talked about Ackley, he criticizes Stradlater's whistling and his
shaving habits. He admits that his roommate is handsome, but then
withdraws the compliment by criticizing the kind of handsomeness he
has. He brands Stradlater as insensitive and even adds that "he was
a little bit like Ackley."
-
---------------------------------------------------------------------
  NOTE: Although the conversation he has with Stradlater is very
different from the one he had with Ackley, Holden's Criticisms sound
very much alike to us. As you read, you'll find that Holden has
trouble talking about almost anyone without being critical. This
should set off a warning signal. If he complains so much about people,
how valid can his complaints be? There's a possibility that the
problem is with Holden, not with the people he knows.
  Actually Holden doesn't complain about everyone. He has completely
positive feelings about three people. He'll tell you about one, Jane
Gallagher, in this chapter. In Chapter 5 you'll learn about a second
one. The third person will enter the story later on.
---------------------------------------------------------------------
-
  While Holden is watching Stradlater shave in the bathroom, he does a
spoof of a kind of musical movie that was popular during the 1930s and
1940s. He pretends to be the governor's son, who wants to become a tap
dancer, against his father's wishes.
  While he's telling us about it, he says, "I hate the movies like
poison, but I get a bang imitating them." This might remind you of how
he characterized his brother, D. B., in the first chapter. "Now he's
out in Hollywood... being a prostitute."
-
---------------------------------------------------------------------
  NOTE: Holden will criticize movies a great deal throughout the book,
but you'll find that he sees enough of them to qualify as a fan. His
attitude toward movies (like his attitude toward many other things) is
a mixture of acceptance and rejection. Something about movies makes
him want to dislike them, but he seems to be drawn to them in spite of
what he believes. Watch for other examples of this double-edged
attitude, not only toward movies, but toward people and institutions.
---------------------------------------------------------------------
-
  Stradlater says that because of a change in plans he's dating a girl
who knows Holden. When Holden finds out it's Jane Gallagher, he
becomes flustered and begins babbling about the summer he spent living
near her. (When he asks about "B. M." Holden wants to know if Jane
attends Bryn Mawr, a noted college in Pennsylvania.)
  With Stradlater ignoring him, Holden talks at length about Jane,
catching his roommate's attention only when he mentions something that
seems to suggest sex. "Only very sexy stuff interested him," Holden
explains.
  What interests Holden most about Jane, however, is something she
used to do when they played checkers that summer. She'd put all her
kings in the back row and leave them there because they looked so
pretty. pretty.
  Stradlater finds this boring. But Holden brings it up again just
before his roommate leaves. Although he doesn't tell us why, Holden
seems to think there's something vitally important in this quirk of
Jane Gallagher's. It's likely that the quirk has a good deal to do
with his fond memories of that summer, but we don't know yet for
certain. In any case, Jane seems to be one of the vulnerable people in
Holden's mind, and he tries to say something to that effect to
Stradlater, who ignores him. The result is that Holden is afraid
that Stradlater's good looks and smooth manner will allow him to
take advantage of Jane. By the time Stradlater leaves, Holden is angry
with him.
  Thinking about the two of them on a date "made me so nervous I
nearly went crazy," Holden tells us. He's so upset that he's glad to
see Ackley barge back into his room.

CHAPTER_5
                              CHAPTER 5
-
  Holden decides to go into town to see a movie with another boy,
Mal Brossard, and he asks Brossard if it would be all right to
invite Ackley, "because Ackley never did anything on Saturday night,
except stay in his room and squeeze his pimples or something." He
tells us this without commenting on the irony of his wanting to invite
someone he finds annoying, even disgusting.
-
---------------------------------------------------------------------
  NOTE: If you think about it briefly, you'll realize what a
selfless gesture this is. And the fact that Holden doesn't comment
on it suggests that the selflessness comes naturally and doesn't
even call for a comment.
  The point is that Holden is beginning to reveal himself as a very
good-hearted person. If you didn't see it in Chapter 1, when he said
he liked Selma Thurmer in spite of the fact that she wasn't attractive
or popular; if you didn't see it when he tried to keep Mr. Spencer
from feeling bad about flunking him; if you didn't see it in the
concern he expressed for Jane Gallagher, a girl he hasn't seen in
nearly two years, then you should begin to see it now. In spite of
what Holden would have us believe, he's a pretty good guy.
---------------------------------------------------------------------
-
  While he's waiting for Ackley to get ready for the movies, Holden
opens a window and makes a snowball. His unwillingness to throw it
comes from his appreciation for the untouched snow that looks "so nice
and white." There's something in freshly fallen snow that affects
everybody that way, but the clean perfection of the scene may have a
special meaning for Holden. That perfection is related to innocence,
which you'll find is very important to Holden. The really
significant part of this chapter is the section about Allie,
Holden's younger brother, who died three years earlier, when Holden
was thirteen. Notice that the sentence, "He's dead now," comes
almost as an afterthought to the description of Allie's glove that
Holden is writing as Stradlater's composition. By holding back this
information, Holden signals us that he still has trouble accepting
Allie's death.
  Read the long paragraph about Allie very carefully. It's one of
the most touching passages in the book because Holden is talking about
a rarity in his life- someone he believes was truly good.
  The passage about Allie is also important as a clue to why Holden is
telling us this story from a hospital bed. Holden is still living with
the trauma of his brother's death, a shock that has much to do with
his current emotional state.
  After the powerful section about Allie, Holden says of the
baseball mitt, "I happened to have it with me, in my suitcase," and
you recognize that he's once again trying to minimize something. You
suspect that Holden probably hasn't gone anywhere without the glove
since his brother died, a strong indication that Allie's death was a
pivotal event in Holden's life.
  It's probably the emotion of having talked and written about Allie
that leads Holden to say something friendly at the end of the chapter.
After listing everything that's wrong with Ackley, Holden says he
feels sorry for this annoying character.

CHAPTER_6
                              CHAPTER 6
-
  "Some things are hard to remember," Holden says at the beginning
of this chapter. By itself, this is a simple enough observation, but
as you continue to read you'll find Holden making similar references
to his loss of memory. If you keep in mind that he's telling his story
from a hospital bed, and if you recall what he did when his brother
Allie died and how he felt ("like I was sort of disappearing") when he
ran to Mr. Spencer's house in the first chapter, you'll realize that
something is not quite right with the way Holden sees himself and
deals with the world. You can express what's wrong in a dozen
different ways, and they may all be valid. Holden might still be
trying to come to terms with Allie' death; he might be experiencing
"emotional growing pains"; he might be on the verge of a serious
breakdown. When you've finished the book, you can formulate your own
statement (or statements) about Holden's problem with the world. For
now, just collect all the important pieces of evidence as you find
them.
  When Stradlater comes back to change his clothes for a date,
Holden gives him the composition. Stradlater's insensitive reaction to
Holden's paper about Allie' baseball mitt is no great surprise. His
teacher had told him to write a description of "a room or a house or
something you once lived in," and it would never occur to someone like
Stradlater that a description of a glove could also fulfill the
assignment.
  When he tells Holden, "You don't do one damn thing the way you're
supposed to," Stradlater is touching on an important difference
between him and his roommate. No matter what he does secretly,
Stradlater is a person who follows the rules. ("It drove him crazy
when you broke any rules.") He won't miss handing in an assignment,
but he will get someone else to write it for him.
  Stradlater is a "secret slob" who looks clean; what is true of his
razor blade is also true of his behavior. Unlike Stradlater, Holden
doesn't put up a front. He doesn't try very hard to please adults, and
he's therefore known as someone who doesn't do anything the way he's
supposed to.
  After working himself into a frenzy over Jane Gallagher, Holden
takes a swing at Stradlater, who promptly throws him to the floor
and kneels on his chest. Nearly hysterical, Holden "told him he
thought he could give the time to anybody he felt like. I told him
he didn't even care if a girl kept all her kings in the back row or
not."
  In Holden's mind Jane Gallagher is so frail and vulnerable that
she needs a solid line of kings to make her feel secure. In his mind
Stradlater is a phony who uses his wiles to prey on frail and
vulnerable girls.
  Because he lives with Stradlater, there's a good chance that
Holden is right about him. But how reliable is his evaluation of
Jane Gallagher? She's a college student, older than he is; he hasn't
seen her in two years; and she could very well have changed
dramatically since he knew her.
  None of this matters to Holden, of course. As far as he's concerned,
One of the Helpless is out there, and it's his job to protect her. Or,
as you'll find out later in the book, he would like that to be his
job.

CHAPTER_7
                              CHAPTER 7
-
  After the fight with Stradlater, Holden goes next door and wakes
up Ackley, hoping for some consolation but not really expecting any.
(When he asks Ackley to play Canasta he's referring to a card game
that was popular during the 1940s and 1950s.)
  Holden has another bout of sarcastic bantering with Ackley. Then,
since Ackley is Roman Catholic, Holden asks, "What's the routine on
joining a monastery?"
  The question leads to a funny exchange between the two, and then
it's dropped. But don't let it slip by without thinking about it. If
Holden were Catholic and devoted to his religion, thinking about a
monastery might be a consistent thing for him to do. But joining a
monastery has no religious meaning for Holden; it would just be a
way to escape the world that bothers him so much. It's true that
many people have that kind of daydream from time to time. But as you
get to know Holden, you'll find that it's more than a daydream, that
the monastery is only one expression of a deep-seated desire to
withdraw.
  Holden decides not to wait until Wednesday, but to leave Pencey
right then, late Saturday night, and to spend a few days alone in
Manhattan before going home. He packs his bags, sells his typewriter
to a boy down the hall, and leaves with a flourish, yelling "Sleep
tight, ya morons!" on his way out.
-
---------------------------------------------------------------------
  NOTE: Remember that Holden has been through leave-taking scenes
before. In the first chapter he told us he likes "to feel some kind of
a good-by" when he leaves a place. He was able to think of something
pleasant at that time, something that made him feel a little sorry
to be leaving.
  That isn't the case when he's actually on his way out the door,
though. He's leaving abruptly, still angry at Stradlater, still
annoyed with Ackley, and a bit uncomfortable that his exit isn't being
acknowledged. His hostile good-bye yell may have made him feel
better for the moment, but the leave-taking remains sour.
---------------------------------------------------------------------

CHAPTER_8
                              CHAPTER 8
-
  As he's telling us about his walk to the train station, Holden
mentions his "Gladstones," as he did when he packed to get ready to
leave school. Notice how casually he drops the name of his expensive
luggage, and think back to what he said about the Spencers not
having a maid. The last thing Holden would want to do is impress you
with his family's wealth. But these offhand references make it
impossible to ignore how easily he takes money for granted.
  It may not be a good idea to define someone by the amount of money
he (or his family) has, but it would be foolish not to take it into
account. With Holden (as with people in real life), you don't want
to say, "He's a rich kid" and stop there. You do, however, want to
say, "He's a rich kid with a certain attitude toward money and
social position." Holden's attitude toward money is tied up with
guilt. Watch for references to money as you read.
  Holden's conversation during the train ride with Mrs. Morrow is
funny. He thinks she's friendly and charming, even a bit sexually
attractive. Since you don't know Holden very well this early in the
story, you might think that he's a bit perverse in mentioning sex
while describing a woman his mother's age.
  But suspend your judgment for a while. Holden will talk with- and
about- several girls and women before he's finished, and you'll have a
more complete picture of his attitude toward the opposite sex. Then
you can think back and evaluate this scene from a more informed
vantage point.
  In talking with Mrs. Morrow, Holden does something kind, then
something a little cruel. The kind gesture is telling the woman what a
gem she has for a son- Holden actually finds the boy to be nasty,
but sees that Mrs. Morrow is worried about how her son is doing at
school. Holden offers the kind gesture because he really likes the
woman and because he tends to do kind things for people. (Remember,
for example, how he tried to relieve Mr. Spencer of the pain caused by
having to fail him.)
  But then, to avoid telling her that he's been expelled from
school, Holden invents a wild tale about having to go home for brain
surgery. Mrs. Morrow is understandably upset by this news, and the
only way Holden can avoid compounding the cruelty is to stop talking
to her entirely.
  The lie seems rather stupid because he was enjoying his
conversation. You'll find that Holden does something like that in many
situations. He seems to want to stop himself from succeeding at
communicating with other people.
-
---------------------------------------------------------------------
  NOTE: Observe how Holden's language shifts in this chapter as he
speaks with an adult. This shift is another indication of the good ear
Salinger has for everyday language.
  "He adapts himself very well to things," Holden says. And, "Some
of the faculty are pretty conscientious." This is well-formulated,
adult-type speech, quite different from the expletive-laden language
he uses with other students. Back in Chapter 2, you heard Holden using
similar language with Mr. Spencer.
---------------------------------------------------------------------

CHAPTER_9
                              CHAPTER 9
-
---------------------------------------------------------------------
  NOTE: When was the last time you told somebody something really
personal? Try to remember what it felt like to reveal something
you'd never told anyone before. Chances are you told less than the
complete truth.
  That's what most of us do when we're talking about very private
matters, especially unpleasant ones. One side of you might want to
tell the unvarnished truth. Another side, though, will try to put
the best possible face on things, to make you look as good as
possible.
  Holden is just like anyone else in this regard, so you have to
read between the fines to obtain a complete portrait of him. His
narration is filled with comments that are phrased to sound casual,
but reveal important things about him that he would probably hate
putting into words.
---------------------------------------------------------------------
-
  The chapter opens with Holden telling us he "felt like giving
somebody a buzz" when he reached Penn Station in New York City. That
sounds casual enough to be ignored. But think about it for a moment.
  He has just left the dorm, his temporary home, and he's arrived in
the city of his permanent home, the city in which he plans to live
like an adult for a few days before going home. It's late at night,
and he's standing nearly alone in a huge railroad station.
  He has no immediate plan in mind. He has nowhere to go. He has
nobody to talk to. He's so much in need of a human connection that
he'd settle for just about anyone he knows. He wants to call somebody.
  Holden is a lonely boy, but he can't bring himself to say it- to
us or to himself. So he slips the information to us in a way that
makes it sound as though he just feels like talking.
  A couple of sentences later Holden mentions his younger sister
Phoebe for the first time. You'll find out later that Phoebe is the
most important person in his life. You'd never be able to tell it from
this reference, though. Holden isn't ready to tell us about Phoebe
yet, so he just glides past her in his list of people he considered
calling.
  When Holden takes a cab, we learn that he lives near Central Park,
an expensive Manhattan neighborhood. During his conversation with
the driver, he asks about the ducks in Central Park. He mentioned this
subject in Chapter 2, when he was talking with Mr. Spencer, and his
concern with those ducks is an important clue to his personality,
another indication of his concern for vulnerable creatures.
-
---------------------------------------------------------------------
  NOTE: During the cab ride scene, Holden uses the word "corny" to
mean something like "fake" or "artificial." A page or two later he
uses "crumby" to mean "sexual."
  His use of "corny" seems to be due to his inability- or
unwillingness- to think of the right word. But his use of "crumby" may
be more important. He's talking about sex in that paragraph, and he
becomes almost explicit. But he keeps using the almost meaningless
word "crumby" instead of "sexual" or one of its synonyms. Think
about "crumby" and its connotations, and you'll have some idea of
Holden's dislike- possibly fear- of the implications of a sexual
relationship.
---------------------------------------------------------------------
-
  The rest of the chapter shows Holden telephoning from the hotel
room, trying unsuccessfully to arrange a date with a woman whose
name he got from a college student. The scene is both touching and
comical, and it could stand as an illustration of the ambivalence he's
already expressed about sex, because he does a lot to talk himself out
of the date he's supposedly trying to get.

CHAPTER_10
                              CHAPTER 10
-
---------------------------------------------------------------------
  NOTE: Think about Holden's loneliness and how it affects
everything he does. When he arrived in the city, he told us he
wanted to call somebody- anybody, really. But he came up with a
different reason for not calling each person he thought of. He ended
up calling someone he'd never met, and pretending he was someone he
wasn't.
  Earlier we saw him try to explain to Mr. Spencer why he was being
expelled. He soon realized that he and Spencer were talking
different languages, and he hurried to get out of his teacher's house.
  His conversations with Ackley were disastrous. The first time they
talked, Ackley forced himself on Holden. But the second time, Holden
did the forcing because he was desperate for someone to talk to.
  On the train he met a woman he really liked. How did he deal with
that potentially pleasant situation? He gave her a false name, drew
a fraudulent picture of her son, and told her an outrageous lie
about himself that effectively ended their conversation.
  If there's a pattern here, it is that Holden wants to connect with
people but can't, even when he has good opportunities. Though he tries
talking to people, they all disappoint him, and he withdraws from them
before anything can happen.
---------------------------------------------------------------------
-
  So far Holden has mentioned only two people for whom he has a
continuing regard. One is Jane Gallagher, a girl he hasn't seen in
almost two years. The other is his brother Allie, who has been dead
for three years. Neither of these people is a part of Holden's life.
For all we know, what he believes about them might be the product of
his imagination.
  At the beginning of Chapter 10 you'll read about a third person in
this select group of people Holden thinks highly of. This one is
alive, a part of his life, and very real. It's his younger sister
Phoebe, and you'll meet her later in the story.
  Read the opening of Chapter 10 with a pencil in your hand, because
Holden (Salinger, actually) really gets carried away talking about
Phoebe, and you might want to mark off some of the things he says
about her. She's pretty, she's smart, she looks like Allie, she's
"roller-skate skinny," and so on.
  Phoebe is about the age Allie was when he died. Keep this in mind as
you read the passage and as you continue to read the book. It will
eventually give you a key to understanding Holden- and it is closely
related to the books title.
  The passage about Phoebe contains something else of interest- some
detailed references to movies. Holden has already told us several
times how much he dislikes movies. The most memorable remark he made
was at the end of the opening paragraph of the book, when he called
his brother a prostitute for working in Hollywood.
  On the other hand, he makes many references to movies, some of
them rather affectionate, such as the one in this section about The 39
Steps. His attitude toward movies is at least ambivalent; he certainly
doesn't hate them as much as he would have us believe.
-
---------------------------------------------------------------------
  NOTE: Why does Holden protest about movies so much, when he
obviously sees many of them? It might be that Holden (who reads much
more than his teachers think he does) feels movies should be beneath
him. It might be that he has to convince himself from time to time
that he really is an outsider. What better way to do that than to
divorce himself from the most popular form of entertainment of his
time? Or his complaints about movies might be an indirect echo of
his dissatisfaction with his brother D. B., who gave up writing the
stories Holden loves in order to become a screenwriter.
---------------------------------------------------------------------
-
  Holden tells us he goes down to the hotel bar "to see what was going
on." But by this time you should be suspicious of such casual
language. In fact, he's still in the state he was in when he arrived
at Penn Station, and when he called a total stranger. What he's
longing for is to make contact with another person.
  Does he have a chance of making contact? He spots three women, older
than he is, but probably wanting as much as he does to meet someone.
"The whole three of them were pretty ugly," he says, and he doesn't
think much of the way they're dressed, either. He refers to them as
"the three witches," and he works up a good deal of hostility toward
them before he even approaches them.
  How good, then, do you think his chances are of striking up a
friendly conversation with these women? If he fails to connect- and of
course he does- is it because they're insensitive dolts? If so, is
it only because of that? Or does Holden play some part in these
dead-end conversations he keeps finding himself in? Notice how often
he finds the wrong thing to say to people. Notice how adept he is at
appearing hostile, even though we know he's desperate to make contact.
If Holden can't find someone to talk with, it's often as much his
fault as that of the people he meets.
  By the time the three women walk out on him, Holden has the
explanation for his failure all prepared. "They were so ignorant,
and they had those sad, fancy hats on and all. And that business about
getting up early to see the first show at Radio City Music Hall
depressed me."
  It makes him so depressed he can't stand it, he tells us. He's
already used the word "depressed" a few times, and he'll use it many
more times later on. Pay attention to the kinds of things he finds
depressing. The pattern will help you understand Holden better.

CHAPTER_11
                              CHAPTER 11
-
  Because Jane Gallagher is one of the three people Holden has had
good things to say about, it pays to read this chapter carefully. Mull
over some of the things he says about Jane. Try reading what he means,
instead of only what he says. (Remember, sometimes even he doesn't
know what his words reveal about himself, so this kind of reading
isn't easy.)
  Holden spends the whole chapter talking about Jane. He becomes so
depressed thinking of her date with Stradlater that he ends up going
to a bar.
  "I know old Jane like a book," Holden tells us. How are we to take
that? He hasn't seen her in nearly two years, since she was sixteen.
He has missed a very important stage of her development as a young
woman. The girl who went out with Stradlater may be radically
different from the Jane who exists in Holden's memory. (Would the
old Jane have gone near someone like Stradlater?)
  "You don't always have to get too sexy to get to know a girl," he
says. This tells us that his relationship with Jane was platonic-
friendly but nonsexual. It also helps us understand why Holden would
be upset that anyone could think of Jane in sexual terms.
  When Holden says, "The girls I like best are the ones I never feel
much like kidding... it's hard to get started, once you've known
them a pretty long time and never kidded them," he's suggesting that
he's in awe of girls, that he can't treat them casually as friends.
  When he thinks about Jane and Stradlater in Ed Banky's car, it
drives him crazy, even though "I knew she wouldn't let him get to
first base with her." It drives him crazy because he doesn't truly
know what Jane would allow Stradlater to do. He's frightened by the
possibility that Jane might have changed.
  Remember, Jane is the only person outside of his family to whom
Holden has ever shown Allie's glove. Allie and Phoebe represent
childhood innocence to Holden. If he has limited them with Jane in his
mind, her growing up could be a terrible event in his life.

CHAPTER_12
                              CHAPTER 12
-
  Early in this chapter, Holden says, "New York's terrible when
somebody laughs on the street very late at night.... It makes you feel
so lonesome and depressed."
  There's that word "depressed" again. You'll see it a few more
times in this chapter, and you'll notice it cropping up more and
more often as Holden goes on with his story. Loneliness- the inability
to make contact with people- is one part of Holden's problem. Almost
constant depression is another part.
-
---------------------------------------------------------------------
  NOTE: What makes Holden sad? It might be better to ask what
doesn't make him sad. He seems to find something depressing in
almost everything and everyone he meets. After a while, you begin to
see that the problem is much more internal than anything else- that
Holden's depression comes from the way he sees things, not necessarily
from the way they are.
---------------------------------------------------------------------
-
  On his way to Ernie's bar, Holden has a long conversation with a cab
driver about those Central Park ducks. The cab driver is a funny
character, so the scene is enjoyable to read. But don't forget that
those ducks are important to Holden; they'll become even more
important as the story progresses.
  As he did with the first cab driver, Holden asks this one to join
him for a drink. Later he sends a message to the piano player to ask
if he'll join him for a drink. Try to imagine how desperate he is to
have someone to talk to. Imagine how lost and alone you'd have to feel
to ask strangers to spend some time with you. And keep in mind that
Holden doesn't seem to realize what these desperate requests signify
about himself.
  When you read Holden's comments about the people at the bar, watch
for the pendulum swings in his attitude. For example, he hates the way
Ernie is playing the piano, but "I felt sort of sorry for him when
he was finished." He makes fun of the people sitting on his left,
but ends by saying, "Real ugly girls have it tough. I feel so sorry
for them sometimes." He doesn't like anything about Lillian Simmons,
but "You had to feel sort of sorry for her, in a way."
  His feeling sorry for people, feeling sad, and becoming depressed
all seem to be snowballing. The references are coming closer together;
they're playing a larger part in his story. Something is happening
to Holden.
  "I was surrounded by jerks," he says at one point in this chapter.
This statement could fit comfortably into almost every chapter
you've read so far. To Holden, just about everybody is a jerk. He does
feel sorry for most jerks, instead of feeling superior to them. But
they're jerks just the same.
  The chapter ends with the statement, "People are always ruining
things for you." This encapsulates Holden's troubles with the world.

CHAPTER_13_14
                           CHAPTERS 13 & 14
-
  Holden's red hunting hat reappears at the beginning of Chapter 13.
He bought the hat right after he lost the fencing equipment on his
trip with the team. Some critics have suggested that the hat
symbolizes Holden's alienation from the world in which he lives.
Holden bought it, after all, when the team members "ostracized" him,
and it does set him apart from everyone else.
  If you don't feel comfortable with symbolism, you can think of the
hat as a sign of Holden's eccentricity, a poster that announces,
"I'm not like the rest of you." It isn't of major importance, but even
minor things should be considered when you're analyzing a character as
complex as Holden.
  As he's walking the forty-one blocks from Ernie's bar to the
hotel, Holden misses his gloves, which he thinks were stolen at
school. He thinks about what he might have done if he'd caught the
thief, and this leads him to say, "I'm one of these very yellow guys."
By "yellow," Holden means he doesn't like fighting. In fact he might
take any route to avoid it.
  His imaginary dialogue with the thief who stole his gloves is rather
funny. In his mind he begins by accusing the thief, then tempering the
accusation, then backing off, then leaving the room to go to the
bathroom and look tough in the mirror. Most people find the
imaginary dialogue funny because most people are as reluctant to fight
as Holden is.
  Holden, however, has an excuse for not fighting in a situation
like the one he's described: "I never seem to have anything that if
I lost it I'd care too much," he says, meaning that none of his
possessions seems important enough to justify fighting. Still, he
doesn't let himself off that easily. He's ashamed of not being willing
to fight. "What you should be," he says, "is not yellow at all."
  He adds that he hates fights because he's more afraid of hurting
someone than of being hurt. But even that isn't an acceptable
excuse. It's just "a funny kind of yellowness."
  Holden is torn between two standards of behavior- the traditional
"macho" standard and the gentle one that comes more naturally to
him. His weak self-image won't allow him to entertain the idea that
his own standard of behavior is preferable.
  Thinking about yellowness depresses him. He reaches his hotel and
walks inside. The lobby depresses him, so he enters the elevator. When
the elevator operator offers to get a woman for him, he accepts
because he's so depressed.
  While he's waiting for the prostitute to come to his room, Holden
thinks about sex, a subject he has already told us confuses him a
great deal. Like his thoughts on cowardice, much of what he says about
sex will sound very, very familiar- and therefore probably funny.
  When he was talking about being "yellow," Holden said he was
afraid of hurting someone in a fight. Here he says he doesn't want
to take advantage of girls. Girls in general seem to fit into Holden's
classification of vulnerable people, and that, of course,
complicates his feelings about sex.
  By the time Sunny, the prostitute, reaches his room, Holden is a
nervous wreck. He works hard at appearing urbane, but Sunny seems
hardly aware of him. In no time at all he's feeling sorry for her, and
he tells her he isn't in the mood for sex. She asks for double the
price mentioned by the elevator operator, but he refuses to give her
more than he agreed to.
  The time he spends with the prostitute depresses him further. It
also has another effect on him, one that he can describe only as
"peculiar." That's an odd word for Holden to use, and, in fact, it
signals that something is happening to him. Think of his memory
blackouts. Think of the time he felt that he was disappearing. Then
look at what he does after Sunny leaves.
  He sits down and starts talking to Allie, his dead brother. "I do
that sometimes when I get very depressed," he tells us. He talks about
something he did to Allie once, something that makes him feel guilty
when he thinks about it. And he tells us he thinks about it when he
gets depressed.
  The part about Allie is followed by Holden's thoughts on Jesus and
the Disciples. (The Disciples, or Apostles, were twelve men whom Jesus
chose to help him preach his new doctrines. What Holden refers to as
"the Bible" is actually the New Testament, which describes the life
and teachings of Jesus.)
  Holden loves Jesus, but he has little use for the Disciples. Jesus
taught that people should love one another without qualifications.
Holden believes that Jesus meant that literally, and lived up to it.
The Disciples, however, were ordinary men who had difficulty
carrying out Jesus' teachings to the letter. Holden doesn't have
much patience with them, and that should tell you how high- how
impossible- a standard he uses to measure people.
  The elevator operator returns with Sunny and demands another five
dollars. Holden stands up to him, but it's clear from the beginning
that they'll get the money out of him. In his anger, Holden insults
the elevator operator, who punches him in the stomach.
  Then Holden treats us to another of his affectionate movie tributes.
He ends it, as always, by criticizing the movies, but by this time
we should have learned to stop paying attention to his criticisms. The
movie scenario is his way of turning a frightening, painful, and
humiliating situation into a near-heroic one.
  It's now Sunday morning, and we've been with Holden for less than
twenty-four hours.

CHAPTER_15
                              CHAPTER 15
-
  Holden is still alone and still lonely. For the third time he thinks
of calling Jane Gallagher and decides not to. "I wasn't in the
mood," is the reason he gives to himself.
  Maybe you can think of one or more explanations that come closer
to the truth. Why would he keep hesitating to call her, when she's one
of the few bright lights in his depressing world? What is he afraid
might happen? What might he find when he talks to her?
  Holden is trying to avoid having to face something about Jane that
he finds threatening. He knows very well that Jane has grown up
since he knew her. If she were still the same girl, it's unlikely that
she would have gone on a date with Stradlater. If he calls her,
he'll have to face the real Jane, not the innocent girl he once
knew. And he isn't ready for the real Jane.
  So he calls Sally Hayes instead. She's a beautiful girl, but a
phony, at least by Holden's standards. He arranges to take her to a
play that afternoon, and he quickly leaves the hotel. He takes a cab
to Grand Central Station, where he leaves his suitcases in a rented
locker.
  Then he goes to a coffee shop, where he sees two nuns having trouble
with their suitcases. He helps them and has a very unusual experience-
a pleasant conversation with someone he genuinely likes.
  Notice that even though this is an upbeat scene, Holden is
depressed. He feels badly about the nuns' inexpensive suitcases and
about the meager meal they're having.
  He says several times that he doesn't like having things that are
better than other people's. While he seems to take his father's wealth
for granted, something about having money bothers him. The last
thing he says in this chapter is a good summary of his attitude:
"Goddam money," he says. "It always ends up making you feel blue as
hell."
-
---------------------------------------------------------------------
  NOTE: When Holden thinks that someone is vulnerable, he wants to
shield him or her from sorrow and pain. Rather than compromise with
life and accept the existence of suffering, he dreams of making the
world over in his own youthful image. He is too young to accept the
fact that there are things in life he cannot control. In this chapter,
Holden is afraid of being too specific about Romeo and Juliet
because it concerns a love affair, and the nuns might be
embarrassed. He considers these nuns vulnerable, in need of
protection. Of course, he's wrong about that. They're grown women,
college graduates, professional teachers. But he sees them as
creatures who have to be protected from the realities of the world.
  That's the way he felt about Jane Gallagher when he fought with
Stradlater. He was probably just as wrong about her needing his
protection, but that doesn't matter. When Holden perceives someone
as vulnerable, he wants to shield him or her from the world.
---------------------------------------------------------------------

CHAPTER_16
                              CHAPTER 16
-
  This is one of the most important chapters in the book because
Holden comes very close to verbalizing what's been bothering him.
(Remember, he hasn't been holding back. He just doesn't know what's
bothering him.)
  He has some final thoughts about the nuns, which he sums up in a
curious way: "That's what I liked about those nuns. You could tell,
for one thing, that they never went anywhere swanky for lunch. It made
me so damn sad when I thought about it, their never going anywhere
swanky for lunch or anything."
  Think about that for a minute. What he likes about them is the
same thing that makes him sad. That isn't exactly a
self-contradiction, but it is strange. And it's a clue to why Holden
is so troubled. Even the positive things he encounters are tainted
in some way. He's unable to enjoy anything because nothing is perfect.
The result is that even good things make him sad.
  What he likes about certain people should make him happy. Why
doesn't it? Because the world doesn't value the things he values.
There's a gap- sometimes a huge one- between the beautiful world
inside Holden's head and the ugly one outside him. And Holden isn't
having much luck bridging that gap.
  The rest of the chapter is almost exclusively about children, and
that's what makes it very important. You know that Holden has an
idealized picture of the world in his mind, but where does that
picture come from? In this chapter you'll learn that it comes from his
ideas about childhood.
  While he's walking the streets, killing time until his date with
Sally, Holden comes across a six-year-old boy walking with his
parents. The boy is singing the Scottish folk song "Comin' Through the
Rye," but he doesn't have the lyrics quite right. The lyrics
actually are, "If a body meet a body...." The boy is singing, "If a
body catch a body comin' through the rye." (Later, the boy's mistake
will appear in the significance of the book's title.)
  "It made me feel better," Holden says. "It made me feel not so
depressed any more." Just the sight of a child enjoying himself in his
own little world, totally oblivious to everything around him, is
enough to overcome what seems to be constant sadness in Holden.
Without doing anything special, the boy lifts Holden out of his
depression. This is your first clue about how important children are
to him.
  After buying Phoebe a record on Broadway, Holden walks uptown to
Central Park, where he hopes to find his sister skating. When he
reaches the park, he has another of those strange symptoms that seem
to be indications of a serious physical or mental illness.
  He's talking about the park when he says, "It made you depressed,
and every once in a while, for no reason, you got goose flesh when you
walked." The gooseflesh is like his dizziness or the feeling that he's
about to disappear. These symptoms appear with no warning, but he
talks about them casually, as though they happen to everybody. He
stops and talks to a girl who knows Phoebe. She tells him Phoebe is
probably at the American Museum of Natural History, and Holden helps
her tighten her skates. Helping her and being thanked make him
nearly ecstatic.
  When the girl leaves, he begins walking to the museum, where he used
to go regularly when he was Phoebe's age. On the way there, he gives
us a detailed description of the museum's lifelike statues and
dioramas, and we begin to get a picture of how much Holden loved his
childhood.
-
---------------------------------------------------------------------
  NOTE: The museum represents Holden's childhood to him. "I loved that
damn museum," he tells us. One of the things he means is that he loved
the way the world was (or seemed, at least) when he was a child.
---------------------------------------------------------------------
-
  "The best thing, though, in that museum was that everything always
stayed right where it was," he explains. And in the next paragraph
he adds, "Certain things they should stay the way they are. You
ought to be able to stick them in one of those big glass cases and
just leave them alone."
  Holden is close to revealing- to himself as well as to us- just
what's wrong with his life. His next sentence is, "I know that's
impossible." But does he really know that?
  If he knows it's impossible to preserve things as they were in
childhood, why does he talk to Allie in moments of stress? Why is
his ten-year-old sister one of the few people he admires? Why does
he continue to think of Jane as a frail creature who keeps her kings
in the back row, when she's matured enough to date someone like
Stradlater?
  He remembers his own experience of being different each time he went
to the museum, though everything there remained exactly as it had been
before. He thinks about Phoebe being different every time she goes.
"It didn't exactly depress me to think about it," he says, "but it
didn't make me feel gay as hell, either."
  Those changes he remembers were signs that his life had
progressed, that he had grown up little by little. He knows the same
thing will happen to Phoebe, but he doesn't like thinking about it.
  Just before he reaches the museum, Holden offers a helping hand to
two small children on a seesaw, although "you could tell they didn't
want me around, so I let them alone." That may be the saddest event in
this chapter, but Holden doesn't comment on it.
  He seems to be overflowing with good feelings for small children,
much as a parent would be for his or her own children. But he also
shares something else with parents: the knowledge that they can't do
everything they'd like to do for their children, that they have to let
them do as much as possible by themselves. Holden may be unconscious
of this knowledge, but it's what keeps him from helping the
children, no matter how much he'd like to.
  When he reaches the museum he has so lovingly described, he
decides not to go inside. He probably knows it won't be as beautiful
as he remembers it. After all, if Jane Gallagher can grow up, what's
to prevent the museum from changing?

CHAPTER_17
                              CHAPTER 17
-
  Holden's references to sadness and depression, coupled with his
mental trip back to the beauty of childhood, are signals that the
tension in him is mounting. It's becoming more difficult for him to
cope as the hours pass. In this chapter he almost forces a crisis.
  He's waiting for Sally in the lobby of New York's Biltmore Hotel,
a popular meeting place for young people at the time that Salinger was
writing. The place is filled with girls his age, and he's watching
them. It was "nice sightseeing" he says, but also "sort of
depressing."
  The depressing part is thinking about what's going to happen to most
of the girls he sees. They're all going to have conventional lives, he
thinks, married to boring men. But notice where Holden's thoughts
about bores lead him. He ends up saying that life with a bore might
not be so bad after all. Even a bore, he thinks, has at least one
quality that sets him above everyone else, or one special talent
that no one else has.
  His date with Sally resembles an emotional roller coaster ride. "I
felt like marrying her the minute I saw her," he says. On the way to
the theater, he tells her he loves her. Though he knows it's a lie, he
says he meant it when he said it. By the time they leave the
theater, he "sort of hated old Sally."
  "I'm crazy," he tells us. Later, he calls himself a madman. Of
course, he means these statements as figures of speech, but they still
indicate that he has some idea that he's behaving erratically.
  Sally suggests that they go ice skating. In a restaurant at the
rink, Holden's troubles begin coming to a head. He tells Sally how
much he hates school, and uncharacteristically he's willing to see
himself, and not the rest of the world, as the problem.
  "I don't get hardly anything out of anything," he cries. "I'm in bad
shape. I'm in lousy shape." Unlike his use of "crazy" and "madman"
earlier, this is no figure of speech for Holden. He's serious, he's
admitting he's in trouble, and he's asking Sally to help him.
  That, of course, is one of the most irrational things we've seen him
do yet. Sally Hayes is the last person who might be willing to help
him. She doesn't even understand most of what he's saying to her.
  He makes the further mistake of asking her to come live in the woods
with him. Her response would be funny if Holden's condition weren't so
serious. As he has done all along, he's trying to reach out to
someone. But, as usual, he's saying the wrong thing to the wrong
person. The net result of Holden's attempt is that he annoys Sally
by his use of profanity, and finally insults her.
-
---------------------------------------------------------------------
  NOTE: Once again, Holden's attempt at communication comes to
nothing. Worse than nothing, really, because he's just alienated
someone he's known for a long time. He does try to apologize, but
Sally won't accept it, and she tells him he's mad.
---------------------------------------------------------------------
-
  So he's alone again, more depressed than ever, and angry with
himself for asking Sally to go away with him.
  "The terrible part, though," he says, "is that I meant it when I
asked her." And that really is terrible, because it shows that
Holden has nearly lost control of himself.
  Sally Hayes isn't someone with whom Holden wants to live. He can't
even endure an afternoon with her. His invitation to her is the
irrational act of a desperate person, someone who will do anything for
human companionship.

CHAPTER_18_19
                           CHAPTERS 18 & 19
-
  Now that his date is over, Holden starts thinking about girls again.
"The trouble with girls," Holden says, "is, if they like a boy, no
matter how big a bastard he is, they'll say he has an inferiority
complex, and if they don't like him, no matter how nice a guy he is,
or how big an inferiority complex he has, they'll say he's
conceited. Even smart girls do it."
  Even Jane Gallagher, the girl he has idealized in his mind, has been
known to do it. What he's saying is that sexual attraction can make
girls see things the way they want them to be, instead of the way they
are.
  He seems to forget, though, that he does the same thing himself.
Near the beginning of Chapter 15, Holden told us that when he necks
with a girl, he has to think she's intelligent, even if she isn't.
He wants to believe he can have relationships only with girls he
respects, but he puts his standards aside as readily as the girls
about whom he's complaining.
  He's alone again, and he wants to be with somebody. When he gets
no answer at Jane Gallagher's number, he calls an older boy who used
to be his adviser at the school he attended before Pencey. They
agree to meet that night, and Holden has several hours to kill.
  What does he do? He goes to Radio City Music Hall, showing himself
once again to be a jumble of contradictions. How many times has he
told us he hates movies? Remember how depressed he became when he
heard the three women at the hotel bar talking about going to Radio
City? You'd think he'd rather die than go into the place. And here
he is spending several hours there.
  Needless to say, he finds it all very depressing. He's especially
upset by the religious spectacle commemorating Christmas- a yearly
event for which Radio City is world famous. It leads, naturally
enough, to some thoughts about Jesus, and that brings Allie to mind.
  Notice how casually Holden can move from Jesus to Allie, and don't
miss the importance of that. Allie is as much a religious figure to
him as Jesus, maybe even more so. When Holden's condition worsens
later on, you'll see him begin to pray to his dead brother.
  After these thoughts about Radio City and religion, Holden starts
talking about the movie. He gives a detailed summary of the plot,
all the while telling us how much he hated it. "It was so putrid I
couldn't take my eyes off it." But he was interested enough to have
remembered every twist of the plot, no matter how trite it was.
  The people in the audience at the theater upset him, as do the
patrons at the bar where Ernie played the piano. His comments now
are beginning to sound repetitious. He says the same thing at Radio
City that he said at Ernie's and at the play he saw with Sally. He
becomes upset at these performances because he thinks people are
applauding the grandstanding and showing off, not the talent. He
becomes even more upset at the possibility that the performers
themselves no longer know the difference between showing off and
creating something beautiful. (See the Author's Life and Times for
some thoughts on how this sentiment may reflect Salinger's attitude.)
  After the movie, Holden walks to the bar where he is to meet Carl
Luce, an older boy who used to be his adviser. Early in Chapter 18, he
describes Luce as "one of those very intellectual guys." Early in
Chapter 19, Holden adds enough about him to suggest that Luce may be a
sex pervert. In any case, Luce always seemed preoccupied with sex, and
sex is what Holden wants to talk to him about.
  Luce, however, is now a college student, more discreet than he was a
few years ago when he talked sex with the younger boys in the
school. But Holden keeps pushing to get him to talk. As Sally did a
few hours earlier, Luce tells Holden more than once to keep his
voice down. Though Holden denied it in the afternoon, he admits now
that he was "talking a little too loud." He may even be beginning to
sound hysterical.
  His tone and his insistence on talking about sex almost guarantee
that this conversation will end as most of Holden's attempts at
communication have. Luce cuts it short and leaves. But not before
Holden begs him to stay awhile. "Please," he says. "I'm lonesome as
hell. No kidding."
  But Luce, like Sally, is a semistranger. He has little compassion
for this boy he barely knows, and Holden has done very little in their
few minutes together to earn any.

CHAPTER_20_21
                           CHAPTERS 20 & 21
-
  Holden is repeating himself, going around in circles that are
becoming smaller and smaller. At the beginning of Chapter 20, still in
the bar and drinking heavily after Luce has left him, he asks a waiter
to invite one of the female dancers to have a drink with him. The
waiter says he'll deliver the message, but Holden doubts that he will.
"People never give your message to anybody," he says.
  Compare this to the scene at Ernie's in Chapter 12 when he told a
waiter to invite Ernie to his table for a drink. His comment on that
waiter was almost exactly the same.
  Holden gets so drunk that he has to dunk his head in a sink filled
with cold water. He goes out and starts walking uptown toward the lake
in Central Park. outside in the cold air, the water begins to freeze
in his hair, and he starts thinking about catching pneumonia and
dying.
  He talks about this in the same offhand tone he uses for everything,
so it would be easy to miss its significance. Review his situation for
a minute. He's drunk; he has no money left; he's freezing; he's been
thrown out of school; he can't go home; he has no other friends to
call; he's desperate for someone to talk to; he's even more
desperate for someone to tell him what to do; and he has no reason
to think his situation will be better in the morning.
  When he talks about dying, it isn't in the same way he pretended
to have a bullet in his stomach, after the elevator operator had
punched him in the hotel room. Dying would be a relief to him. It
would solve all the problems he can't get a grip on. From his angle,
getting pneumonia might be the best thing that's happened to him in
a long time.
  He has these thoughts, and the thoughts about Allie in the cemetery,
while he's at the lake in Central Park. He's still curious about those
ducks, which he finds are gone now that the lake is frozen.
  Remember Holden's need to protect the vulnerable. His concern for
the ducks is one expression of that need. He may have lost his
perspective by giving the ducks more importance than they should have.
But his concern comes from the same urge that makes him worry about
Jane Gallagher and about Phoebe having to grow up.
  Now you're finally about to meet Phoebe. Holden leaves the
deserted lake, intent on sneaking into his apartment and talking
with his sister. He describes his "breaking and entering" in a funny
passage at the beginning of Chapter 21.
  Pay special attention to everything he says about Phoebe. When he
talks about her, Holden is happy. He becomes tender and avoids the
wisecracks that usually fill his sentences. Everything he says
sounds touching. He's telling you about the only living person he
loves.
  Not only does he love her, but she's also a child, and children
are among the vulnerable people. As you saw in Chapter 16, children
make Holden very happy. In this chapter he says, "I can read that kind
of stuff, some kid's notebook... all day and all night long. Kid's
notebooks kill me."
  When he wakes Phoebe up and talks to her, you'll see why he loves
her so. She's bright, articulate, and mature for her age, the kind
of little sister any teenage boy would love to have.
-
---------------------------------------------------------------------
  NOTE: There are two things to note especially in Holden and Phoebe's
conversation. First, Phoebe's announcement of the exciting news that
they have a radio in the car is a detail that reminds you that the
novel was written in the 1940s. Second, when Phoebe realizes why
Holden is home three days early, she begins to sound like his older
sister.
  You'll see more of that in the next chapter.
---------------------------------------------------------------------

CHAPTER_22
                              CHAPTER 22
-
  "She was ostracizing the hell out of me," Holden says. "Just like
the fencing team at Pencey when I left all the goddam foils on the
subway."
  This reference brings you back to the very beginning of the story,
the fifth paragraph of the novel, when he talked about the fencing
foils. Maybe it's an indication that Holden has come full circle, that
he hasn't accomplished anything, that he's right back where he
started. There's another full-circle reference later in this
chapter, when Holden says he's going to visit a former teacher of his.
Its likely that Salinger is trying to direct our attention to the
beginning of the story.
  Phoebe talks to Holden "like a goddam schoolteacher," and he
responds as he might to an older person, in a petulant and whining
manner. When she asks him why he's being expelled again, he tries to
explain what a terrible place Pencey is.
  The trouble is, his description could fit any school, or almost
any group situation that any of us will ever be in. Holden may think
he's complaining about Pencey; in fact, he's complaining about the
world.
  Phoebe really becomes the adult character when she presses him to
name something he really likes. She won't accept either of the answers
he gives, and she presses the issue by asking him what he wants to be.
  Holden's response contains the source of the book's title. He
wants to be the catcher in the rye because he wants to prevent small
children from getting hurt.
-
---------------------------------------------------------------------
  NOTE: His catcher in the rye image, far-fetched as it is, is the
first concrete expression of Holden's urge to protect the vulnerable
that we've been hearing about throughout the novel. It explains his
feelings for Jane Gallagher (at least the Jane he knew during that
summer vacation). It explains the concern he felt in the coffee shop
for the nuns' sensibility, the feeling he has for girls in general,
and the tenderness that overtakes him when he talks with or about
children.
  It explains why he likes Jesus, who preached love and sacrifice,
even though he considers himself an atheist. It explains why he
feels sorry for people who don't have the money or possessions he has,
and why he sympathizes with social misfits like Ackley.
  Holden just wants to prevent everyone from getting hurt. His image
deals with children because no one is more vulnerable than they are.
But his urge to protect extends to everyone.
  Although this may sound beautiful, think of the negative side for
a moment. Holden offered the catcher in the rye image in response to
Phoebe's question about what he wanted to do with his life. This isn't
a dream he's describing. He says it's "the only thing I'd really
like to be."
  Take that as a clue that Holden's grasp of reality isn't as firm
as it should be. He doesn't imagine himself doing anything remotely
attainable. He doesn't talk about entering teaching, social work,
the clergy, medicine, or any other profession or occupation that would
allow him to satisfy his urge to help people. He imagines himself only
as the catcher in the rye.
  As he admitted earlier in the day to Sally, he's in lousy shape.
---------------------------------------------------------------------

CHAPTER_23_24
                           CHAPTERS 23 & 24
-
  Holden's phone call to Mr. Antolini, "about the best teacher I
ever had," brings us back to the beginning of the novel, when he
visited Mr. Spencer before leaving Pencey. When you read about his
visit with this teacher, contrast it with the visit he made in Chapter
2. Antolini is an adult Holden wants to talk to, in the hope that he
can get some helpful advice.
  Before Holden can leave the apartment, his parents come home
unexpectedly. He hides in the closet and listens as Phoebe deftly
handles the questions her mother asks. The conversation between Phoebe
and Mrs. Caulfield is interesting because Phoebe is completely in
control, and her mother is being manipulated.
  Mrs. Caulfield goes to bed, and Holden prepares to leave. Before
he leaves he starts to cry, which upsets his sister very much. His
crying seems to have been brought on by the appearance of his
mother. Holden has told us before that he feels guilty about the
trouble he causes her, and his guilt feelings have grown worse since
Allie's death.
  As he's trying to bring himself under control, he says, "I thought I
was going to choke to death or something." This is the first in a
series of physical symptoms that signal Holden's approaching
breakdown.
  He slips out of the house successfully, but he seems to be
wearying of the freedom he anticipated when he left Pencey on Saturday
night. At the end of Chapter 23 he says he almost wished his parents
had caught him on the way out.
  Mr. and Mrs. Antolini live on Sutton Place, one of the most
expensive streets in Manhattan. Unlike Mr. Spencer, Mr. Antolini is
young, sophisticated, rich, and witty. Holden comes to see him because
he wants to, not because he thinks he should. He's hoping to get
some help from Antolini, something he wouldn't dream of asking from
Spencer.
  He takes a cab to their house because he feels dizzy when he
leaves his building. The dizziness is compounded by a severe headache;
Holden's physical condition is deteriorating.
  Read Chapter 24 carefully. The conversation summarizes much of
what has been happening to Holden, and Antolini's advice, unlike
Spencer's well-meaning cliches, is personalized and to the point.
Antolini is genuinely concerned about Holden, so much so that he has
recently met with Mr. Caulfield to discuss Holden's problems.
  Because school is where most of Holden's problems are evident,
school is what he talks about with his former teacher. Their
conversation amounts to a discussion of educational philosophy, though
Antolini is understandably more articulate than Holden on the subject.
  Antolini warns him about people who destroy themselves by "looking
for something their own environment couldn't supply them with." That's
not a bad description of Holden's trouble. He seems to expect
something from the world that the world can't deliver.
  Antolini warns Holden about what might happen if he doesn't overcome
this problem. He also explains how doing well in school could help
someone in that situation, and how it could be particularly valuable
to Holden. Education, he says, will help Holden learn that "you're not
the first person who was ever confused and frightened and even
sickened by human behavior."
  Antolini's advice is right on the mark, and you could read this
chapter with some optimism, some hope that maybe he can help Holden
improve his situation. Then Antolini spoils it all by putting his hand
on Holden's forehead and scaring the wits out of him.
-
---------------------------------------------------------------------
  NOTE: You can read the last section of the chapter a dozen times and
never be absolutely sure if Antolini makes a pass at Holden. Some
readers say that there's no doubt that he does and that Salinger has
even prepared us for it.
  "How're all your women?" Antolini asks Holden just before he goes to
sleep on the couch. And the last thing he says to Holden is, "Good
night, handsome." In addition, he and his wife never seem to be in the
same room, there's a great difference in their ages, and their
attraction for each other may not be sexual.
  Other readers think Antolini never makes a pass at all. He's
genuinely concerned with Holden's welfare, they say, and he knows what
a fragile state Holden is in. Even if he were homosexual, he
wouldn't put Holden's health in jeopardy because he's clearly a
responsible teacher.
  The question is, was Holden premature in assuming that Antolini
was making a pass? There is no definite answer. You'll have to draw
your own conclusion.
  More important than that question is the effect the scene has on
Holden. He's just been given some valuable advice by a man he
respects. Now he has run out of the man's house in fear. The real
problem is that he might run from the advice as well as from the man
who gave it.
---------------------------------------------------------------------

CHAPTER_25
                              CHAPTER 25
-
  In a sense, everything Holden counted on has been taken away from
him. Phoebe didn't give him the understanding and compassion he was
hoping for. She even wrenched Allie from him as a source of comfort by
coldly reminding him that their dead brother is no longer real. He
hasn't been able to get in touch with Jane Gallagher. And Mr. Antolini
turned out to be the biggest disappointment of all.
  Before this chapter is over Holden will have reclaimed some of
what he's lost in the past few hours; whether that helps with his
overall problem is something you'll have to decide when you've
finished the book.
  The first thing he reclaims, to a degree at least, is his regard for
Antolini. When he wakes from a nap in Grand Central Station, he thinks
about what happened at Antolini's, and he decides that he might have
been wrong in thinking that the man was acting like a pervert. He
has every reason to think of Antolini as a good person, and he could
have misconstrued the situation.
  Even after he's dealt with this question, though, Holden is still
more alone than ever before, and his physical condition is
deteriorating. His headache is worse, the dizziness continues, he
can't swallow, and he's now troubled by nausea and diarrhea.
  These are only his physical symptoms. They signal an even more
serious emotional state, one we've been seeing signs of since Holden
felt he was about to disappear on his way to Mr. Spencer's house.
  While he's walking in Manhattan on this Monday morning, Holden
sees things that point up both the ugliness and the beauty of the
world he has so much trouble with. The ugliness is seen in the use
of profanity by a man who's unloading a Christmas tree from a truck.
It may be a hopeful sign that Holden finds this funny instead of
depressing.
  The beauty is seen in the Christmas shoppers who remind Holden of
the fun he's had with Phoebe. As he walks up Fifth Avenue- once
again toward Central Park- he's feeling rather cheerful because of
those happy memories.
  But not for long. He begins to feel that he's about to disappear,
and he calls on Allie to keep it from happening. In spite of the
trauma of hearing Phoebe remind him that Allie is dead, Holden is
apparently intent on keeping his brother in his life. Finally, after
walking a couple of miles, he sits on a park bench, perspiring and
breathing heavily.
  That's where he hatches his plan to escape all this trouble for
good. The section begins in the middle of a long paragraph, with the
sentence, "I decided I'd go away." Read it carefully- it's the other
side of the catcher in the rye dream.
  In this dream Holden would cut himself off from all human
communication by running away and pretending to be a deaf mute. It's a
more extreme version of an idea he mentioned to Ackley, when he
asked about the possibility of a non-Catholic joining a monastery.
Both schemes would allow him to disappear from the world, and on his
own terms.
  Because he wants to say good-bye to Phoebe, he goes to her school to
have a note delivered to her in class. On his way to the principal's
office he sees an obscenity scrawled on the wall, and it nearly
destroys him. Small children are going to see this obscenity. It's
going to disturb them and ruin the beauty of their childhood world.
That makes Holden furious. As the catcher in the rye, he rubs the
words out with his hand, intent on keeping the children from being
hurt by the ugliness.
  After he drops off the note for Phoebe, he leaves the principal's
office and sees the same obscenity written on another wall. This one
is scratched in, and even the catcher in the rye can't remove it to
protect the children. Then he decides that it's a hopeless battle,
anyway. You can't erase all the obscenities in the world.
-
---------------------------------------------------------------------
  NOTE: Is Holden admitting that ugliness is simply a fact of life? Is
he accepting ugliness as something that can't be erased? Has he
decided that he can't protect children from it, that he can't
prevent them from growing up? Does he no longer want to be the catcher
in the rye?
  There are readers who say that the obscenity jolts Holden into an
awareness of the real world that he didn't have before. And there
are readers who say that he has only realized how monumental the
problem is, without making any decision about giving up the battle.
You'll have to see how Holden behaves in the few remaining pages of
the book before you can say whether the obscenity has caused a major
change in the way he looks at life.
---------------------------------------------------------------------
-
  While he's waiting for Phoebe to meet him at the museum, Holden
talks with two children who are playing hooky from school and have
come to see the Egyptian mummies. (This is the Metropolitan Museum
of Art, not the American Museum of Natural History that Holden
talked about earlier.) Look at the paragraph in which Holden
explains to the boys how the Egypt buried their dead. Then go back
to Chapter 2 and reread the social studies essay answer that Mr.
Spencer read aloud to Holden.
  In the earlier version Holden was parroting textbook material for an
essay question he found boring. Now he's using the same material,
but because he's telling it to the boys, he's animated by the material
and thinks it's "very interesting." Mr. Spencer probably wouldn't have
appreciated the difference; Mr. Antolini certainly would have.
  When the boys leave, Holden enjoys the peace and quiet in the
tomb. But only for a moment, because he's slapped with another
obscenity scrawled on the wall This time he makes a joke about the
obscenity. It's a bitter joke, but a joke all the same. The difference
in his reaction may signal that something actually has happened to
Holden.
  There's also a difference in his deaf-mute daydream, which he
talks about again on his way to meet Phoebe during her lunch hour.
He has now expanded the daydream to include a trip back home when he's
about thirty-five, and occasional visits from Phoebe and D. B. He
seems now to be less determined to cut himself off completely. He's
hedging a bit on just how much of a hermit he really wants to be.
  Holden is about to receive another shock that may bring him even
closer to the reality that he's been trying so hard to avoid. It comes
at the climax of his conversation with Phoebe in front of the museum.
  Instead of coming to meet him right from school, Phoebe went home
and packed some of her belongings so she could run away with her
brother. She now refuses to listen to any plan of his that doesn't
include her. After insisting over and over again that she isn't
going back to school, she tells Holden to shut up.
  "It was the first time she ever told me to shut up," Holden says.
"It sounded terrible. God, it sounded terrible. It sounded worse
than swearing."
  The night before, Holden ignored her acting as though she were his
older sister. But he can't ignore her telling him to shut up. It looks
as though Holden has seen the first sign that his little sister is
growing up. Holden doesn't want to see anyone grow up, especially
not Phoebe. How does he deal with this potentially earth-shaking fact?
Read what he says a little later about Phoebe's grabbing for the
gold ring on the carousel:
  "I was sort of afraid she'd fall off the goddam horse," he says,
"but I didn't say anything or do anything. The thing with kids is,
if they want to grab for the gold ring, you have to let them do it,
and not say anything. If they fall off, they fall off, but it's bad if
you say anything to them."
  That sounds as though Holden has learned an important truth about
innocence and childhood: that neither is a permanent condition.
"It's bad if you say anything to them," he says, signifying that he
realizes that you can't stop someone from moving into another stage of
life.
  He may have finally come to grips with his fear of seeing people
grow up and change. He is, after all, admitting that he can't stop
Phoebe from doing it, and Phoebe represents everything he has been
trying to preserve. This sudden realization of a truth seems to have a
good effect on Holden. He tells us he "felt so damn happy all of a
sudden."
  And that's the first time in the book he's been happy about
anything.

CHAPTER_26
                              CHAPTER 26
-
  The Catcher in the Rye has much in common with Mark Twain's The
Adventures of Huckleberry Finn. One of the similarities is in their
final chapters.
  Huck closes by saying that if he had known how much trouble it would
be to write a book, he never would have tried it. At the end of the
story he's dissatisfied, as though the telling didn't accomplish much.
  Holden seems to be echoing Huck's sentiment. "I'm sorry I told so
many people about it," he says. "...Don't ever tell anybody
anything. If you do, you start missing everybody."
  Chapter 25 ended with Holden apparently having resolved his fear
of seeing his loved ones change and grow. That's certainly a
positive sign. But in the closing chapter, Holden says things that
remind us of other aspects of his emotional problem.
  We saw him constantly having trouble communicating with people.
Now that he's told his story, he says he thinks the telling was
pointless. That isn't a good sign.
  We saw that Holden had trouble fitting into the world he lived in,
especially in school. Now he tells us he has no idea how he's going to
"apply" himself when he returns to school.
  We saw that he tends to minimize serious problems, probably in an
attempt to keep from having to face them. Now when D. B. asks him what
he thinks about what has happened, he says he doesn't know. He still
isn't ready to seriously analyze what's bothering him.
  To the question, "Has Holden changed?" the answer would seem to
be, "Well, yes and no." His realization that Phoebe will grow up is
a big step for him. His tempering of the daydream to leave the world
he knows is a sign that he may be ready to try adapting to that world.
  On the other hand, he still can't see any value in communicating
with people, he still anticipates trouble in school, and he still
won't face his problems.
  What has happened to Holden? And what will happen to him in the near
future? In the distant future? As a careful reader of the novel,
you're as qualified to answer those questions as anyone else.

TESTS_AND_ANSWERS
                            A STEP BEYOND
                          TESTS AND ANSWERS                 (SCATTEST)
-
                                TESTS
-
  TEST 1
-
  _____  1. The title refers to Holden Caulfield's wish to
-
            A. protect children
            B. imitate his dead brother Allie
            C. prove his worth to his parents
-
  _____  2. Which is not true of the novel?
-
            A. It is narrated in the first person
            B. The actions of the hero are more important than his
               thoughts
            C. It is told in a flashback
-
  _____  3. Holden feels that
-
            A. Antolini is his only adult friend
            B. his brother D. B. has "prostituted" himself in
               Hollywood
            C. James Castle was wrong to commit suicide
-
  _____  4. The novel opens and closes
-
            A. in Pencey Prep in Pennsylvania
            B. in Holden's home in New York
            C. in a "rest home" in California
-
  _____  5. More than anything else, Holden hates
-
            A. old people
            B. phonies
            C. baseball players
-
  _____  6. Which pair of characters play similar roles in Holden's
            life?
-
            A. Phoebe and Sally Hayes
            B. Spencer and Antolini
            C. Carl Luce and Jane Gallagher
-
  _____  7. Holden is beaten up by
-
            A. Ward Stradlater and Maurice
            B. Ackley
            C. the taxi driver
-
  _____  8. There us irony in
-
            A. Holden's love for Phoebe and his refusal to take her
               with him
            B. Holden's contempt for movies and his apparent
               familiarity with films
            C. Holden's expulsion from school and his excellent grades
-
  _____  9. Which is true of Holden?
-
            A. He respects Mr. Ossenburger for his philanthropy
            B. He feels the red hat brings him luck
            C. He likes an author whom you would feel like telephoning
-
  _____ 10. Holden does not go directly home from Pencey Prep because
-
            A. he is afraid to face his parents until school
               officially closes for the holidays
            B. he is anxious for a few days of freedom in New York
            C. he is seriously considering going out West
-
  11. What is Holden's attitude toward Jane Gallagher, and why is it
an important part of the novel?
-
  12. What does Phoebe stand for in Holden's mind?
-
  13. Why is Holden so concerned about the ducks on the lake in
Central Park?
-
  14. What is Holden's attitude toward girls, and what does this
attitude say about him?
-
  15. What is Holden's attitude toward religion, and what does this
attitude say about him?
-
  TEST 2
-
  _____  1. A question that is on Holden's mind and is the subject of
            several conversations is
-
            A. Why did the children in the museum choose to visit the
               Egyptian mummies?
            B. What happens to the ducks in Central Park during the
               winter?
            C. Why aren't the exhibits in the American Museum of
               Natural History changed more often?
-
  _____  2. According to Holden, Ernie the piano player, the Lunts,
            and Laurence Olivier
-
            A. confuse art and entertainment
            B. are the best performers in their respective fields
            C. leave him cold
-
  _____  3. "Then all of a sudden, I got in this big mess" introduces
            the episode
-
            A. of Holden's expulsion from school
            B. of his drunkenness at the hotel
            C. of his encounter with the prostitute
-
  _____  4. After Maurice and Sonny leave Holden,
-
            A. he considers suicide but rejects it in favor of revenge
            B. he counts his money to see how much they have stolen
            C. he fantasizes that he has been shot
-
  _____  5. The meeting with the nuns reminds Holden of
-
            A. his change of heart about religion
            B. an incident with his roommate's suitcase at Elkton
               Hills School
            C. his loneliness and estrangement from his family
-
  _____  6. Holden buys a record for Phoebe and
-
            A. brings it home to her although it is broken
            B. loses it at Grand Central Station
            C. apologizes to her for such a meager gift
-
  _____  7. Holden's date with Sally ends
-
            A. with an innocent kiss
            B. in an argument
            C. with his proposing to her
-
  _____  8. Holden says,
-
            A. "Maybe all bores have some secret talent"
            B. "I hate when kids ask you to tighten their skates for
               them"
            C. "It's depressing to think I'll probably end up a lawyer
               like my father"
-
  _____  9. Holden shows he may have arrived at a point of maturity
            when he
-
            A. determines to "make it" on his own
            B. decides to return home with Phoebe
            C. says he will never miss the people he has been talking
               about
-
  _____ 10. Which is not true of Phoebe?
-
            A. She lies to her mother about smoking
            B. She gives Holden all her money
            C. She is frightened of the carousel
-
  11. How does Holden feel about his parents?
-
  12. Discuss Holden's failed attempts to communicate with people.
-
  13. Discuss the importance of Allie in Holden's life.
-
  14. How typical do you think Holden Caulfield is?
-
  15. Draw a character sketch of Holden at twenty-five or thirty years
old.
-
                               ANSWERS
-
  TEST 1
-
  1. A     2. B     3. B     4. C     5. B     6. B     7. A
  8. B     9. C    10. A
-
  11. There's no doubt that Jane is special to Holden, and that her
special status is closely related to her vulnerability and insecurity.
But before you write anything about her, look beyond these
relatively obvious statements. An essay about Jane should touch on
most of the following questions: Why does Holden keep talking about
calling her? Why does he hesitate for so long before actually doing
it? What would he have said to her if she had answered the phone?
How would she have reacted to him? Why does he stop talking about
her at the end of the book? (The last mention of Jane is in Mr.
Antolini's apartment.)
-
  12. Remember that Phoebe is much more than just a child (although
that would be enough for Holden). She's a very bright child; she's
also sensitive, amusing, and articulate. In an essay dealing with
her importance to Holden, you should deal with any contrast you see
between Phoebe in the real world and Phoebe in Holden's mind. How much
of his private Phoebe is an idealization? How much is the result of
his freezing her at a certain point in her life? And don't forget
the unique circumstance that makes Phoebe different from every other
child Holden knows: she knew Allie in the same intimate way he did.
-
  13. As the comments on individual chapters pointed out repeatedly,
Holden's preoccupation is with defenseless and vulnerable people.
The ducks, of course, symbolize this concern, but simply stating
that wouldn't produce a very satisfactory essay. You would want to
show evidence of Holden's preoccupation with the ducks. You might also
analyze the two conversations he has with cab drivers about the ducks,
and how his comments in those conversations reflect his attitude
toward the ducks.
-
  14. Holden tends to think of girls as defenseless, in need of his
protection. He feels this way even when he's with someone who would
laugh at the suggestion that he could protect her. (Reread his
conversation with Sunny, the prostitute who comes to his hotel
room.) This feeling extends even to women. He feels protective of
his mother; of Mrs. Morrow, the woman he meets on the train from
Pencey; and of the two nuns he has breakfast with. Jane Gallagher
may be the epitome of the helpless female (in Holden's mind, at
least), but she's certainly not the only one in his universe. In
dealing with this question, you might give some attention to whether
Holden's attitude toward girls changes by the end of the book.
-
  15. Holden has some very definitive, and very funny, things to say
about organized religion. But you don't want to deal with a question
like this without distinguishing between organized religion and
religious feelings. Holden's objections to organized religion go right
to the source: he doesn't much like the disciples, who were the
first organizers of Christianity. He does, however, have a high regard
for Jesus, who represents true religious feelings and impulses. Holden
calls himself an atheist because he doesn't practice any form of
organized religion, and because the God his society believes in
doesn't seem real to him. But his talking to Allie is a form of
prayer, and other things he says suggest a religious feeling that
may not be satisfied by the organized religions he has come in contact
with. An essay on his attitude toward religion should deal with most
of these topics.
-
  TEST 2
-
  1. B     2. A     3. C    4. C     5. B     6. A     7. B
  8. A     9. B    10. C
-
  11. One clue begins with the second sentence of the novel. But
you'll have to go over the book carefully to find most of the other
remarks Holden makes about his parents. He mentions his mother more
often than his father, and we even see his mother in the scene with
Phoebe. But he suggests a great deal about his father when Phoebe asks
him what he wants to be when he finishes school. You'll have to
integrate these references to plan an essay on this question.
-
  12. It would probably be a good idea to narrow your subject. One way
to do that is to list all the people Holden talks to during the story,
then to select four or five characters who have something in common.
You can then use this common thread to tie your essay together. You
could, for example, write only about the strangers Holden tries to
talk with- Mrs. Morrow, the two cab drivers, the three women at the
bar. Or you could write only about conversations that end in
hostility, like those with Ackley, Stradlater, the three women,
Sally Hayes, and Carl Luce. Another thing to remember about a
general question like this one is that it doesn't suggest what point
you should make in your essay. That's another thing you should
decide before you start writing. An essay about Holden's failed
attempts to communicate might point out that the failure is often
his fault, or that it's always funny, or that it shows how sick he is.
-
  13. In preparing an essay on Allie you should reread at least
three sections of the book: Holden's first mention of his brother,
when he writes the composition for Stradlater; his conversation
about Allie with Phoebe; and his plea to Allie during the emotional
crisis that arises just before he meets Phoebe at the museum. When you
put all these together (and add Holden's other references to Allie),
you'll see that Allie is more than a memory, more than a well-loved
brother, even more than a symbol of childhood innocence. He has a
religious significance in Holden's life, and any essay on Allie should
mention this.
-
  14. This is the kind of question that calls as much on your personal
experience as it does on your reading of the novel. The best way to
prepare an essay answer is to connect dozens of quotes from the
novel to support your opinion. Your essay will have some strength if
your statement is backed up by his references to disappearing, to
falling, and to not being able to cope. Once you've established what
Holden is like, your next job is to give some evidence for what most
people his age are like. These two parts of your essay will then be
the basis for your overall conclusion that Holden is or is not typical
of American teenagers.
-
  15. Since the assignment asks you to be creative, there's
obviously no "right" answer. There is, however, a right way to
approach this kind of essay. It involves accumulating evidence from
Holden's words and trying to project from that evidence the kind of
adult the speaker might become. You might also separate his opinions
into two groups: those that will take a more adult form in ten or
fifteen years, and those that Holden will have to discard as he
grows older. If you're feeling really creative, you could write this
essay in Holden's voice as an adult.

TERM_PAPER_IDEAS
                           TERM PAPER IDEAS                 (SCATTERM)
-
  1. Compare Holden to Huckleberry Finn in terms of self-image,
language, and attitude toward society.
-
  2. Compare Holden to the main character of Stephen Crane's The Red
Badge of Courage.
-
  3. Analyze Salinger's success at writing comic dialogue.
-
  4. Explain why you think the novel is optimistic or pessimistic.
-
  5. Show how Holden's many references to movies reveal something
about him.
-
  6. Discuss Holden's comments about artists, such as the Lunts,
Laurence Olivier, and Ernie the piano player.
-
  7. Discuss Holden's comments about sex.
-
  8. Show how Holden is not as mature or sophisticated as he would
like people to believe.
-
  9. Discuss the various definitions of phony Holden uses throughout
the book.
-
  10. Discuss the use of sports imagery in the book, including
Holden's red hunting hat.
-
  11. If you've read any of the books Holden mentions, discuss his
opinion of the book(s).
-
  12. Describe the differences in Holden in the three sections of
the novel. (See the section on Form and Structure.)
-
  13. Evaluate Holden's attitude toward children.
-
  14. Analyze the changes in Holden's speech patterns when he's
talking to certain adults in the novel.
-
  15. Discuss the importance of Central Park in the novel.
-
  16. Analyze the relationship between Holden and Phoebe, as it
shows itself in her bedroom and at the end of the novel.
-
  17. Discuss Holden's attitude toward material possessions.
-
  18. Contrast the conversation Holden has with Mr. Spencer and the
one he has with Mr. Antolini.
-
  19. Show how the weekend Holden tells us about is related to his
daydreams about living in a monastery and on the edge of the woods.
-
  20. Explain Holden's attitude toward successful lawyers, and show
what this reveals about him.
-
  21. Explain why you think Holden does or does not belong in the
hospital or rest home from which he's telling the story.
-
  22. Discuss the differences in Holden's attitude toward Phoebe,
Allie, and Jane Gallagher.
-
  23. Show how Holden's flair for lying is or is not helpful to him in
conversations.
-
  24. Describe a school or educational system that Holden would find
appealing.
-
  25. Describe three different people- his own age or older- that
Holden would enjoy spending time with.

CRITICS
                             THE CRITICS                    (SCATCRIT)
-
  ON JANE
  What he especially liked about Jane was that in checkers she kept
her kings in the back row. This has intrigued the critics, but what it
seems to represent is a holding back of one's aggressive powers and an
unwillingness to enter the competitive game and use them against other
people; this is one of Holden's cherished values, and in his case, his
bane as well.
                -Gerald Rosen, Zen in the Art of J. D. Salinger, 1977
-
  HOLDEN AND HUCK FINN
  This novel's exciting resemblances to The Adventures of
Huckleberry Finn have been justly noted by a number of critics- the
comic irony, the colloquial language, the picaresque structure and the
theme of anti-phoniness and it is not inconceivable that someday
Holden Caulfield may be as well known an American boy as Huck Finn.
For a reader goes through much the same pattern of relishing both
boys: first it is the release provided by their rebellion from
society, then the inspiration of their honesty against sham, and
then the sympathetic awareness of their melancholy roles.
                              -Frederick L. Gwynn and Joseph Blotner,
                                  The Fiction of J. D. Salinger, 1964
-
  SALINGER'S LOVE OF CHILDREN
  Holden can only find genuine love in children, who have not
learned the deadening rituals of pretense.
                                -Dan Wakefield, in Henry A. Grunwald,
                     Salinger, A Critical and Personal Portrait, 1962
-
  In one of his few published comments, Salinger has said of The
Catcher: "I'm aware that many of my friends will be saddened and
shocked, or shocked-saddened, over some of the chapters in The Catcher
in the Rye. Some of my best friends are children. In fact, all my best
friends are children. It's almost unbearable for me to realize that my
book will be kept on a shelf out of their reach."
                                 -David Leitch, in Henry A. Grunwald,
                     Salinger, A Critical and Personal Portrait, 1962
-
  THE NEED TO LOVE
  The response of these outsiders (Holden and Phoebe, for instance) to
the dull or angry world about them is not simply one of withdrawal: it
often takes the form of a strange quixotic gesture. The gesture, one
feels for sure, is the bright metaphor of Salinger's sensibility,
the center from which meaning derives and ultimately the reach of
his commitment to past innocence and current guilt.... There is
often something prodigal and spontaneous about it, something
humorous or whimsical, something that disrupts our habits of gray
acquiescence and revives our faith in the willingness of the human
spirit. But above all, it gives as only a religious gesture can.... In
another age, Cervantes endowed Don Quixote with the capacity to
perform it and so did Twain and Fitzgerald endow their best
creations... the young man who insists on giving half a chicken
sandwich to a stranger.
                                  -Ihab Hassan, in Henry A. Grunwald,
                     Salinger, A Critical and Personal Portrait, 1962
-
  HOLDEN AND SOCIETY
  In the epilogue to the novel Holden suggests the possibility of
re-entering society when he says, "I sort of miss everybody I told you
about. Even old Stradlater and Ackley, for instance. I think I even
miss that goddam Maurice." Holden misses even the phonies of the world
because his experience has taught him something about the necessity of
loving, and here Salinger sounds what is to become his major and
most complex theme.
                                                   -David D. Galloway,
                            The Absurd Hero in American Fiction, 1966
-
  A LYRIC MONOLOGUE
  The Catcher in the Rye, despite its brilliance of observation and
the virtuosity with which Salinger keeps Holden Caulfield's
monologue going for the length of a novel, is primarily concerned
neither with the working out of a plot nor the development of a
character. It is a lyric monologue in which the complex feelings of an
essentially static character are revealed. For all Salinger's skill,
The Catcher in the Rye has a claustrophobic and, at the same time,
random quality.
                               -Arthur Mizener, in Henry A. Grunwald,
                     Salinger, A Critical and Personal Portrait, 1962
-
  A PORTRAIT OF OURSELVES
  Rather than wishing quarterly significance or "greatness" on him
[Salinger], we can be content to take him for what he is: a
beautifully deft, professional performer who gives us a chance to
catch quick, half-amused, half-frightened glimpses of ourselves and
our contemporaries, as he confronts us with his brilliant mirror
images.
                           -David L. Stevenson, In Henry A. Grunwald,
                     Salinger, A Critical and Personal Portrait, 1962
-
  SALINGER, THE OUTSIDER
  The only thing that Salinger does not do for this audience is to
meet with them. Holden Caulfield said in The Catcher in the Rye that
"What really knocks me out is a book that, when you're all done
reading it, you wish the author that wrote it was a terrific friend of
yours and you could call him up on the phone whenever you felt like
it." It is well for him that all the people in this country who now
regard J. D. Salinger as a "terrific friend" do not call him up and
reach him.
               -Alfred Kazin, "J. D. Salinger: Everybody's Favorite,"
                                    The Atlantic Monthly, August 1961

ADVISORY_BOARD
                            ADVISORY BOARD                  (SCATADVB)
-
  We wish to thank the following educators who helped us focus our
Book Notes series to meet student needs and critiqued our
manuscripts to provide quality materials.
-
  Murray Bromberg, Principal
  Wang High School of Queens, Holliswood, New York
-
  Sandra Dunn, English Teacher
  Hempstead High School, Hempstead, New York
-
  Lawrence J. Epstein, Associate Professor of English
  Suffolk County Community College, Selden, New York
-
  Leonard Gardner, Lecturer, English Department
  State University of New York at Stony Brook
-
  Beverly A. Haley, Member, Advisory Committee
  National Council of Teachers of English Student Guide Series
  Fort Morgan, Colorado
-
  Elaine C. Johnson, English Teacher
  Tamalpais Union High School District
  Mill Valley, California
-
  Marvin J. LaHood, Professor of English
  State University of New York College at Buffalo
-
  Robert Lecker, Associate Professor of English
  McGill University, Montreal, Quebec, Canada
-
  David E. Manly, Professor of Educational Studies
  State University of New York College at Geneseo
-
  Bruce Miller, Associate Professor of Education
  State University of New York at Buffalo
-
  Frank O'Hare, Professor of English
  Ohio State University, Columbus, Ohio
-
  Faith Z. Schullstrom, Member of Executive Committee
  National Council of Teachers of English
  Director of Curriculum and Instruction
  Guilderland Central School District, New York
-
  Mattie C. Williams, Director, Bureau of Language Arts
  Chicago Public Schools, Chicago, Illinois
-
-
                    THE END OF BARRON'S BOOK NOTES
               J. D. SALINGER'S THE CATCHER IN THE RYE


                               BIBLIOGRAPHY                 (SCATBIBL)

CATCHER_IN_THE_RYE
                           FURTHER READING
-
                            CRITICAL WORKS
-
  Belcher, William F., and James W. Lee, eds. J. D. Salinger and the
Critics. Belmont, Calif.: Wadsworth, 1962.
-
  French, Warren. J. D. Salinger. New York: Twayne, 1963.
-
  Galloway, David D. The Absurd Hero in American Fiction. Austin:
University of Texas Press, 1966.
-
  Grunwald, Henry A., ed. Salinger: A Critical and Personal
Portrait. New York: Harper & Row, 1962.
-
  Gwynn, Frederick L., and Joseph Blotner. The Fiction of J. D.
Salinger. Pittsburgh: University of Pittsburgh Press, 1964.
-
  Laser, Marvin, and Norman Fruman, eds. Studies in J. D. Salinger.
New York: Odyssey, 1963.
-
  Rosen, Gerald. Zen in the Art of J. D. Salinger. Berkeley:
Creative Arts, 1977.
-
                         AUTHOR'S OTHER WORKS
-
  Nine Stories (1953)
  Franny and Zooey (1961)
  Raise High the Roof Beam, Carpenters and Seymour: An Introduction
(1963)
-
  Before the publication of The Catcher in the Rye, Salinger published
a number of stories that have not been collected in an authorized
edition. These stories appeared from 1940 to 1948 in the magazines
Collier's, Saturday Evening Post, Cosmopolitan, Story, Esquire,
Mademoiselle, and Good Housekeeping. One of the stories, "I'm
Crazy," included passages that Salinger later used in The Catcher in
the Rye. It appeared in the December 22, 1945, issue of Collier's. A
complete list of Salinger's stories, with their dates of
publication, is in Warren French's J. D. Salinger.
-
-
         THE END OF THE BIBLIOGRAPHY FOR BARRON'S BOOK NOTES
               J. D. SALINGER'S THE CATCHER IN THE RYE

                                      1939

                                JOHN STEINBECK'S
                              THE GRAPES OF WRATH

                              by George Ehrenhaft

                                 SERIES EDITOR
                                 Michael Spring
                           Editor, Literary Cavalcade
                                Scholastic Inc.

                                ACKNOWLEDGMENTS
        We would like to acknowledge the many painstaking hours of work
       Holly Hughes and Thomas F. Hirsch have devoted to making the Book
                            Notes series a success.

            (C) Copyright 1984 by Barron's Educational Series, Inc.

   Electronically Enhanced Text (C) Copyright 1993, World Library, Inc.

CONTENTS
                               CONTENTS
                  SECTION.......................... SEARCH ON

          THE AUTHOR AND HIS TIMES................. SGRAAUTH

          THE NOVEL
          The Plot................................. SGRAPLOT
          The Characters........................... SGRACHAR
          Other Elements
               Setting............................. SGRASETT
               Themes.............................. SGRATHEM
               Style............................... SGRASTYL
               Point of View....................... SGRAVIEW
               Form and Structure.................. SGRAFORM
          THE STORY................................ SGRASTOR

          A STEP BEYOND
          Tests and Answers........................ SGRATEST
          Term Paper Ideas......................... SGRATERM
          Glossary of People and Places............ SGRAGLOS
          The Critics.............................. SGRACRIT

          Advisory Board........................... SGRAADVB

          Bibliography............................. SGRABIBL

AUTHOR_AND_HIS_TIMES
                       THE AUTHOR AND HIS TIMES             (SGRAAUTH)
-
  He didn't know it at the time, but John Steinbeck started getting
ready to write The Grapes of Wrath when he was a small boy in
California. Much of what he saw and heard while growing up found its
way into the novel. On weekends his father took John and his three
sisters on long drives out into the broad and beautiful valleys
south of Salinas, the town where John was born in 1902. John passed
vast orchards, and endless fields green with lettuce and barley. He
observed the workers and the run-down shacks in which they lived.
And he saw, even before he was old enough to wear long pants, that the
farmhands' lives differed from his own.
  Although the Steinbecks weren't wealthy (John's father ran a flour
mill), they lived in a comfortable Victorian house. John grew up on
three square meals a day. He never doubted that he would always have
enough of life's necessities. He even got a pony for his 12th
birthday. (The pony became the subject of one of Steinbeck's
earliest successes, his novel The Red Pony.) But don't think John
was pampered; his family expected him to work. He delivered newspapers
and did odd jobs around town.
  Family came first in the Steinbeck household. While not everyone saw
eye-to-eye all the time, parents and children got along well. His
father saw that John had talent and encouraged him to become a writer.
His mother at first wanted John to be a banker- a real irony when
you consider what Steinbeck says about banks in The Grapes of Wrath-
---------------------------------------------------------
Electronically Enhanced Text (C) Copyright 1991 - 1993 World Library, Inc.