For Friday, read and prepare to discuss Alfred Kazin’s essay on Twain and Huck at the end of Huckleberry Finn.
Also, be prepared to tell me who Alfred Kazin is.
Coming up Tuesday — a re-quiz on Romanticism. It will be multiple choice. Your sources will be:
http://www.vcu.edu/engweb/eng372/intro-h4.htm
http://www.westga.edu/~mmcfar/AMERICAN%20ROMANTICISM%20overview.htm
http://www.engdav.net/Notesfolder/11TH_GRADE_NOTES/american_romanticism.htm
As for Catcher in the Rye, I want you to practice some “challenge thinking” on these sites:
http://www.washingtonpost.com/wp-dyn/articles/A43680-2004Oct18.html
http://www.answers.com/topic/the-catcher-in-the-rye-novel-7
http://www.nytimes.com/books/98/09/13/specials/salinger-rye02.html?_r=1
http://www.nytimes.com/books/98/09/13/specials/salinger-rye01.html
“The Saint as a Young Man: A Reappraisal of The Catcher in the Rye,” in Modern Language Quarterly, Vol. 25, No. 4, December, 1964, pp. 461—72.
[In the following excerpt, Baumbach explores the meaning of "innocence" in The Catcher in the Rye. ]
J. D. Salinger’s first and only novel, The Catcher in the Rye (1951), has undergone in recent years a steady if overinsistent devaluation. The more it becomes academically respectable, the more it becomes fair game for those critics who are self-sworn to expose every manifestation of what seems to them a chronic disparity between appearance and reality. It is critical child’s play to find fault with Salinger’s novel. Anyone can see that the prose is mannered (the pejorative word for stylized); no one actually talks like its first-person hero Holden Caulfield. Moreover, we are told that Holden, as poor little rich boy, is too precocious and specialized an adolescent for his plight to have larger-than-prepschool significance. The novel is sentimental; it loads the deck for Holden and against the adult world; the small but corrupt group that Holden encounters is not representative enough to permit Salinger his inclusive judgments about the species. Holden’s relationship to his family is not explored: we meet his sister Phoebe, who is a younger version of himself, but his father never appears, and his mother exists in the novel only as another voice from a dark room. Finally, what is Holden (or Salinger) protesting against but the ineluctability of growing up, of having to assume the prerogatives and responsibilities of manhood? Despite these objections to the novel, Catcher in the Rye will endure both because it has life and because it is a significantly original work, full of insights into at least the particular truth of Holden’s existence. Within the limited terms of its vision, Salinger’s small book is an extraordinary achievement; it is, if such a distinction is meaningful, an important minor novel.
Like all of Salinger’s fiction, Catcher in the Rye is not only about innocence, it is actively for innocence—as if retaining one’s childness were an existential possibility. The metaphor of the title—Holden’s fantasy-vision of standing in front of a cliff and protecting playing children from falling (Falling)—is, despite the impossibility of its realization, the only positive action affirmed in the novel. It is, in Salinger’s Manichean universe of child angels and adult “phonies,” the only moral alternative—otherwise all is corruption. Since it is spiritually as well as physically impossible to prevent the Fall, Salinger’s idealistic heroes are doomed either to suicide (Seymour) or insanity (Holden, Sergeant X) or mysticism (Franny), the ways of sainthood, or to moral dissolution (Eloise, D. B., Mr. Antolini), the way of the world. In Salinger’s finely honed prose, at once idiomatically real and poetically stylized, we get the terms of Holden’s ideal adult occupation:
Anyway, I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobody’s around—nobody big, I mean—except me. And I’m standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff—I mean if they’re running and they don’t look where they’re going I have to come out from somewhere and catch them. That’s all I’d do all day. I’d just be the catcher in the rye and all. I know it’s crazy, but that’s the only thing I’d really like to be. I know it’s crazy.
Apparently Holden’s wish is purely selfless. What he wants, in effect, is to be a saint—the protector and savior of innocence. But what he also wants, for he is still one of the running children himself, is that someone prevent his fall. This is his paradox: he must leave innocence to protect innocence. At sixteen, he is ready to shed his innocence and move like Adam into the fallen adult world, but he resists because those no longer innocent seem to him foolish as well as corrupt. In a sense, then, he is looking for an exemplar, a wise-good father whose example will justify his own initiation into manhood. Before Holden can become a catcher in the rye, he must find another catcher in the rye to show him how it is done.
Immediately after Holden announces his “crazy” ambition to Phoebe, he calls up one of his former teachers, Mr. Antolini, who is both intelligent and kind—a potential catcher in the rye.
He was the one that finally picked up that boy that jumped out of the window I told you about, James Castle. Old Mr. Antolini felt his pulse and all, and then he took off his coat and put it over James Castle and carried him all the way over to the infirmary.
Though Mr. Antolini is sympathetic because “he didn’t even give a damn if his coat got all bloody,” the incident is symbolic of the teacher’s failure as a catcher in the rye. For all his good intentions, he was unable to catch James Castle or prevent his fall; he could only pick him up after he had died. The episode of the suicide is one of the looming shadows darkening Holden’s world; Holden seeks out Antolini because he hopes that the gentle teacher—the substitute father—will “pick him up” before he is irrevocably fallen. Holden’s real quest throughout the novel is for a spiritual father (an innocent adult). He calls Antolini after all the other fathers of his world have failed him, including his real father, whose existence in the novel is represented solely by Phoebe’s childish reiteration of “Daddy’s going to kill you.” The fathers in Salinger’s child’s-eye world do not catch falling boys—who have been thrown out of prep school—but “kill” them. Antolini represents Holden’s last chance to find a catcher-father. But his inability to save Holden has been prophesied in his failure to save James Castle; the episode of Castle’s death provides an anticipatory parallel to Antolini’s unwitting destruction of Holden.
That Antolini’s kindness to Holden is motivated in part by a homosexual interest, though it comes as a shock to Holden, does not wholly surprise the reader. Many of the biographical details that Salinger has revealed about him through Holden imply this possibility. For example, that he has an older and unattractive wife whom he makes a great show of kissing in public is highly suggestive; yet the discovery itself—Holden wakes to find Antolini sitting beside him and caressing his head—has considerable impact. We experience a kind of shock of recognition, the more intense for its having been anticipated. The scene has added power because Antolini is, for the most part, a good man, whose interest in Holden is genuine as well as perverted. His advice to Holden is apparently well-intentioned. Though many of his recommendations are cleverly articulated platitudes, Antolini evinces a prophetic insight when he tells Holden, “I have a feeling that you’re riding for some kind of a terrible, terrible fall”; one suspects, however, that to some extent he is talking about himself. Ironically, Antolini becomes the agent of his “terrible, terrible fall” by violating Holden’s image of him, by becoming a false father. Having lost his respect for Antolini as a man, Holden rejects him as an authority; as far as Holden is concerned, Antolini’s example denies the import of his words. His disillusionment with Antolini, who had seemed to be the sought-for, wise-good father, comes as the most intense of a long line of disenchantments; it is the final straw that breaks Holden. It is the equivalent of the loss of God. The world, devoid of good fathers (authorities), becomes a soul-destroying chaos in which his survival is possible only through withdrawal into childhood, into fantasy, into psychosis….
Obliquely searching for good in the adult world, or at least something to mitigate his despair, Holden is continually confronted with the absence of good. On his arrival in the city, he is disturbed because his cabdriver is corrupt and unsociable and, worst of all, unable to answer Holden’s obsessional question: where do the Central Park ducks go when the lake freezes over? What Holden really wants to know is whether there is a benevolent authority that takes care of ducks. If there is one for ducks, it follows that there may be one for people as well. Holden’s quest for a wise and benevolent authority, then, is essentially a search for a God-principle. However, none of the adults in Holden’s world has any true answers for him. When he checks into a hotel room, he is depressed by the fact that the bellboy is an old man (“What a gorgeous job for a guy around sixty-five years old”). As sensitized recorder of the moral vibrations of his world, Holden suffers the indignity of the aged bellhop’s situation for him, as he had suffered for Spencer’s guilt and Ackley’s self-loathing. Yet, and this is part of his tragedy, he is an impotent saint, unable either to redeem the fallen or to prevent their fall….
After his disillusionment with Antolini, who is the most destructive of Holden’s fathers because he is seemingly the most benevolent, Holden suffers an emotional breakdown. His flight from Antolini’s house, like his previous flights from school and from the hotel, is an attempt to escape evil. The three are parallel experiences, except that Holden is less sure of the justness of his third flight and wonders if he has not misjudged his otherwise sympathetic teacher.
And the more I thought about it, the more depressed I got. I mean I started thinking maybe I should’ve gone back to his house. Maybe he was only patting my head just for the hell of it. The more I thought about it, though, the more depressed and screwed up about it I got.
The ambivalence of his response racks him. If he has misjudged Antolini, he has wronged not only his teacher, but he has wronged himself as well; he, not Antolini, has been guilty of corruption. Consequently, he suffers both for Antolini and for himself. Holden’s guilt-ridden despair manifests itself in nausea and in an intense sense of physical ill-being, as if he carries the whole awful corruption of the city inside him. Walking aimlessly through the Christmas-decorated city, Holden experiences “the terrible, terrible fall” that Antolini had prophesied for him.
Every time I came to the end of a block and stepped off the goddam curb, I had this feeling that I’d never get to the other side of the street. I thought I’d go down, down, down, and nobody’d ever see me again. Boy, did it scare me. You can’t imagine. I started sweating like a bastard—my whole shirt and underwear and everything…. Every time I’d get to the end of a block I’d make believe I was talking to my brother Allie. I’d say to him, “Allie, don’t let me disappear. Allie, don’t let me disappear. Allie, don’t let me disappear. Please, Allie.” And then when I’d reach the other side of the street without disappearing, I’d thank him.
Like Franny’s prayer to Jesus in one of Salinger’s later stories, Holden’s prayer to Allie is not so much an act of anguish as an act of love, though it is in part both. Trapped in an interior hell, Holden seeks redemption, not by formal appeal to God orJesus, who have in the Christmas season been falsified and commercialized, but by praying to his saint-brother who in his goodness had God in him.
Like so many heroes of contemporary fiction—Morris’ Boyd, Ellison’s Invisible Man, Malamud’s Frank, Salinger’s Seymour—Holden is an impotent savior. Because he can neither save his evil world nor live in it as it is, he retreats into fantasy—into childhood. He decides to become a deaf-mute, to live alone in an isolated cabin, to commit a kind of symbolic suicide. It is an unrealizable fantasy, but a death wish nevertheless. However, Holden’s social conscience forces him out of spiritual retirement. When he discovers an obscenity scrawled on one of the walls of Phoebe’s school, he rubs it out with his hand to protect the innocence of the children. For the moment he is a successful catcher in the rye. But then he discovers another such notice, “scratched on, with a knife or something,” and then another. He realizes that he cannot possibly erase all the scribbled obscenities in the world, that he cannot catch all the children, that evil is ineradicable.
This is the final disillusionment. Dizzy with his terrible awareness, Holden insults Phoebe when she insists on running away with him. In his vision of despair, he sees Phoebe’s irrevocable doom as well as his own, and for a moment he hates her as he hates himself—as he hates the world. Once he has hurt her, however, he realizes the commitment that his love for her imposes on him; if he is to assuage her pain, he must continue to live in the world. When she kisses him as a token of forgiveness and love and, as if in consequence, it begins to rain, Holden, bathed by the rain, is purified—in a sense, redeemed.
A too literal reading of Holden’s divulgence that he is telling the story from some kind of rest home has led to a misinterpretation of the end of the novel. Holden is always less insane than his world. The last scene, in which Holden, suffused with happiness, sits in the rain and watches Phoebe ride on the merry-go-round, is indicative not of his crack-up, as has been assumed, but of his redemption. Whereas all the adults in his world have failed him (and he, a butter-fingered catcher in the rye, has failed them), a ten-year-old girl saves him—becomes his catcher. Love is the redemptive grace. Phoebe replaces Jane, the loss of whom had initiated Holden’s despair, flight, and quest for experience as salvation. Holden’s pure communion with Phoebe may be construed as a reversion to childlike innocence, but this is the only way to redemption in Salinger’s world—there is no other good. Innocence is all. Love is innocence.
The last scene, with Holden drenched in Scott Fitzgerald’s all-absolving rain, seems unashamedly sentimental. Certainly Salinger overstates the spiritually curative powers of children; innocence can be destructive as well as redemptive. Yet Salinger’s view of the universe, in which all adults (even the most apparently decent) are corrupt and consequently destructive, is bleak and somewhat terrifying. Since growing up in the real world is tragic, in Salinger’s ideal world time must be stopped to prevent the loss of childhood, to salvage the remnants of innocence. At one point in the novel, Holden wishes that life were as changeless and pure as the exhibitions under glass cases in the Museum of Natural History. This explains, in part, Holden’s ecstasy in the rain at the close of the novel. In watching Phoebe go round and round on the carrousel, in effect going nowhere, he sees her in the timeless continuum of art on the verge of changing, yet unchanging, forever safe, forever loving, forever innocent.
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