Holden narrates the story of The Catcher in the Rye while he is recovering from his breakdown. Do you think the promise of recovery that Holden experiences as he watches the carousel at the end of the novel has been fulfilled? Specifically, has Holden gained a more mature perspective on the events that he narrates?
It is possible that Holden is simply trying to recapture his original emotions and thoughts in his narration, and thus masking the fact that he has a more enlightened view regarding his behavior than he had during his escapades. But nothing he says seems to point to such irony on Holden’s part. Although Holden narrates his story after it has already happened, he seems to have gained little perspective. He alludes to his present situation only twice—once at the beginning and once at the end of the novel—and he refuses to tell us much about it. Additionally, many of the personal characteristics that have been damaging to him—for example, his cynicism and his lack of introspection—are in fact more pervasive in his narration of his story than in the story itself. As a result, the story he tells is only partial; he often glides over moments of particular trauma or treats painful moments by pretending not to care.
Because Holden is an unreliable narrator, in order to understand his character it is necessary to look beyond his words at his behavior and his interactions with others, using the knowledge of his personality acquired from his narration and applying it to his actions in the story. For instance, when Holden tells about being beaten and robbed by Maurice, the elevator operator, he admits that he thought he was dying and fantasizes about being a movie hero and seeking his revenge. But he never describes how any of this makes him feel; his sole comment is that the “goddam movies” can ruin a person. Since we have learned from previous moments in the book that Holden is a deeply sensitive boy, we can look beneath the surface of his narrative to see the suffering it covers up. In this scene, we also see how self-conflicted Holden is: he claims to hate movies, but he turns to them in a moment of crisis. Because the relationship between the events that Holden narrates and his explanations of those events is so complex and contradictory, and because he is unwilling to discuss any part of his “recovery,” nothing that Holden says suggests that he has really matured from his experiences.
What is the significance of the carousel in Chapter 25?
Holden’s release at the end of his story comes as he watches Phoebe ride the carousel. There is an element of magic to the moment, as the carousel is operating even though it is wintertime. Holden mentions that Phoebe protests, arguing that she is too big to ride the carousel, but Holden knows that she wants to do it and he buys her a ticket. Holden, on the other hand, declines to ride, which shows him recognizing, if not accepting, his status as an adult.
In a way, the carousel is reminiscent of the statues in the Museum of Natural History, because, like them, it never changes. It continues to move in circles and always stays in the same pace; it stays the same while the children who ride it continue to grow older. It would seem, then, that the pleasure Holden takes in watching Phoebe ride is, like his moments at the museum and watching Phoebe sleep, self-deceptive.
But Holden does show some signs of growth. He comments: “All the kids kept trying to grab for the gold ring, and so was old Phoebe . . . but I didn’t say anything . . . if they want to grab the gold ring, you have to let them do it . . . If they fall off, they fall off.” Holden’s pronouncement references his emendation of his “catcher in the rye” fantasy. Now he has come to terms with the idea that every child will eventually “fall”—out of innocence and into adulthood. Holden cannot prevent them from doing it or save them, just as he cannot prevent or save himself from becoming an adult. This recognition brings about a huge emotional release for him, and he begins to cry; the sky emulates him with a thunderstorm. Most of the other adults take refuge under the carousel’s canopy, but Holden stays out in the rain. Whether we are meant to take this action as one of defiance or acceptance is, like the remainder of the novel’s ending, unclear.
Though Holden never describes his psychological breakdown directly, it becomes clear as the novel progresses that he is growing increasingly unstable. How does Salinger indicate this instability to the reader while protecting his narrator’s reticence?
Salinger uses two main techniques with great efficiency. The first is to emphasize a contrast between Holden’s relatively casual description of his actions and the apparent desperation of the actions themselves. When Holden describes walking to the Central Park duck pond late at night, for instance, he casually mentions that he had icicles in his hair and worried about catching pneumonia, but he does not seem to consider it strange to walk outdoors with wet hair in freezing weather. It does seem strange to the reader, however, and Salinger uses that sense of strangeness, as well as Holden’s apparent obliviousness to it, to emphasize his mental imbalance. His other technique is to provide alternative viewpoints in the other characters’ responses to Holden’s behavior as guidelines. For instance, when Holden has his meltdown with Sally and tries to persuade her to flee society and live with him in a cabin, she repeatedly asks him to stop shouting. In his account of the scene, Holden claims he wasn’t shouting, but we believe Sally. Salinger uses her angry, fearful response to signal to the reader that Holden’s mental state is worse than he admits or acknowledges.
1. Think about Holden’s vision of the nature of childhood and adulthood. Are the two realms as separate as Holden believes them to be? Where does he fit in?
2. The novel is structured around Holden’s encounters and interactions with other people. Does any pattern seem to emerge, or does anything change in his interactions as the novel progresses? How do Holden’s encounters with adults, children, women, and his peers evolve as the novel progresses?
3. Throughout the book, Holden longs for intimacy with other human beings. Discuss the different types of relationships Holden attempts and the different types of intimacy in the book. What is the role of sexuality in The Catcher in the Rye? How do Holden’s sexual relationships differ from his nonsexual encounters?
4. The most ambiguous encounter in the book is Holden’s night at Mr. Antolini’s apartment. What do you make of Mr. Antolini’s actions? Was he making a pass at Holden? What is the significance of his actions, and how do they relate to his role as someone trying to prevent Holden from “taking a fall”?
5. Holden often behaves like a prophet or a saint, pointing out the phoniness and wickedness in the world around him. Is Holden as perfect as he wants to be? Are there instances where he is phony and full of hypocrisy? What do these moments reveal about his character and his psychological problems?
'The song “Comin’ Thro’ the Rye” asks if it is wrong for two people to have a romantic encounter out in the fields, away from the public eye, even if they don’t plan to have a commitment to one another.'
I thought the 'Rye' referred to in Robert Burns' poem was the river Rye, hence the lines: 'Jenny's a wet poor body, Jenny's seldom dry'. In this regard it is about two people who meet at a river with no crossing, which will cause people to question why one of them is wet and what they have been doing.
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I have found one very important quotation from this novel to have been left out on this page. It is very useful for many papers and is a VERY important quotation!
Chapter 25 (towards the end)
"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."
This occurs while Holden is watching Phoebe ride the carousel in Central Park and fears Phoebe will fall off her house while reaching for a gold... Read more→
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DANG, dis book sownds dope, YO!
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