The Catcher in the Rye, first published in
1951, is a fictional novel narrated by sixteen year old Holden Claufield, which
touches on some very real adolescent issues. “The content of the modern
adolescent novel has always been focused on the controversial social issues
seen to be pertinent to youth” (Nimon & Foster, 1995, p.52). Some
sixty years on themes such as loneliness, relationships, belonging &
not-belonging, intimacy, sexuality, deception and mental illness remain inherent
to the genre of adolescent literature.
Salinger explores these themes in the
first person which draws the audience in and pressures them to question the
trials and tribulations of ‘the teenage experience’.
Salinger’s contradictory, colloquial and cynical
writing style constructs protagonist and narrator Holden, as self-absorbed, violent,
disconnected and disengaged from society and his family in particular. At the
beginning of the novel, Holden indicates that he has been hospitalized for a
nervous breakdown, the story of which is revealed over the course of the novel.
‘I got pretty run down and had to come out here and take it easy’ (1951, p. 1),
he says. Whilst the underlying influences such as lack of stability, family
breakdown and mental illness are hinted as the root of Holden’s ‘issues’, the
overall construction of adolescents is explored in a fairly negative and
thought provoking manner. Holden seemingly has problems, both psychological and
sociological which weigh heavily throughout the text.
“As social
commentators, authors have in effect provided a snap shot of [adolescent] life
based on what they understand the situation to be” (Foster, Finnis & Nimon,
2005, p.72). Therefore the depictions of adolescents and their lives are based
heavily around the ideologies and perceived normalcies held by the author. A
critical stance must be taken when considering social texts; we as the reader
must consider “what choices have been made in the creation of the text” (Janks
& Ivanic, 1992, p.316). It is through this reflective/ critical approach
that adolescent ‘constructions’ can be recognised and thus compared with
personal experiences.
The text presents readers with new models of
adolescent behaviour that rejects and modifies those common in the 1950’s which
remained more innocent and childlike in nature. Holden is portrayed not
completely as a child, neither as an adult; he possesses the characteristics of
both. Whilst he drinks heavily, has sexual desires and exerts a large degree of
freedom, he is also uncomfortable talking to girls, disregards authority
figures, and is dependent on adults.
You can see him floating in the no man’s land of
adolescents, wanting freedom and independence, yet dependent on adults for
financial as well as psychological support. He lacks respect for the ‘phony’
adult world and hence is determined, even by the end of the novel, to not ‘grow
up’. Holden’s silent contempt for adults and the adult ‘world’ is highlighted
in chapter two, when his History teacher tries to make him play by the rules:
“Life is a game, boy. Life is a
game that one plays according to the rules.”
“Yes, sir. I know it is. I know
it.”
Game, my ass. Some game. If you get
on the side where all the hot-shots are, then it’s a game, all right—I’ll admit
that. But if you get on the other side, where there aren’t any hot-shots, then
what’s a game about it? Nothing. No game.
It is clear that Holden
identifies with those on the “other side” of the game. He feels alienated and
angry beneath his compliant veneer. Holden learnt early on in life, from the
trauma of his younger brother Allie’s death, that the cards in this particular
“game” are not evenly stacked. This critical awareness of adult imperfection,
positions Holden as sensitive and intelligent, he no longer sees the world
through the innocent eyes of childhood but rather as an overtly cynical young
man.
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