The Catcher in the Rye: Motifs

Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.

Loneliness

Holden’s loneliness, a more concrete manifestation of his alienation problem, is a driving force throughout the book. Most of the novel describes his almost manic quest for companionship as he flits from one meaningless encounter to another. Yet, while his behavior indicates his loneliness, Holden consistently shies away from introspection and thus doesn’t really know why he keeps behaving as he does. Because Holden depends on his isolation to preserve his detachment from the world and to maintain a level of self-protection, he often sabotages his own attempts to end his loneliness. For example, both his conversation with Carl Luce and his date with Sally Hayes are made unbearable by his rude behavior. His calls to Jane Gallagher are aborted for a similar reason: to protect his precious and fragile sense of individuality. Loneliness is the emotional manifestation of the alienation Holden experiences; it is both a source of great pain and a source of his security.

Relationships, Intimacy, and Sexuality

Relationships, intimacy, and sexuality are also recurring motifs relating to the larger theme of alienation. Both physical and emotional relationships offer Holden the opportunity to break out of his isolated shell. They also represent what he fears most about the adult world: complexity, unpredictability, and potential for conflict and change. As he demonstrates at the Museum of Natural History, Holden likes the world to be silent and frozen, predictable and unchanging. As he watches Phoebe sleep, Holden projects his own idealizations of childhood onto her. But in real-world relationships, people talk back, and Phoebe reveals how different her childhood is from Holden’s romanticized notion.

Because people are unpredictable, they challenge Holden and force him to question his senses of self-confidence and self-worth. For intricate and unspoken reasons, seemingly stemming from Allie’s death, Holden has trouble dealing with this kind of complexity. As a result, he has isolated himself and fears intimacy. Although he encounters opportunities for both physical and emotional intimacy, he bungles them all, wrapping himself in a psychological armor of critical cynicism and bitterness. Even so, Holden desperately continues searching for new relationships, always undoing himself only at the last moment.

Holden is a virgin, but he is very interested in sex, and, in fact, he spends much of the novel trying to lose his virginity. He feels strongly that sex should happen between people who care deeply about and respect one another, and he is upset by the realization that sex can be casual. Holden indicates that he feels confused by his desires and ashamed of his active sexual imagination. Holden clearly thinks about sex a lot, and his thoughts excite him and give him pleasure. As a physical, embodied experience, he decides that sex “might be quite a lot of fun.” But Holden’s mind also gets in his way. When he thinks too analytically about it, he finds the very idea of sex “crumby.” This confusion about sex and sexuality marks Holden’s immaturity.

Lying and Deception

Lying and deception are the most obvious and hurtful elements of the larger category of phoniness. Holden’s definition of phoniness relies mostly on a kind of self-deception: he seems to reserve the most scorn for people who think that they are something they are not or who refuse to acknowledge their own weaknesses. But lying to others is also a kind of phoniness, a type of deception that indicates insensitivity, callousness, or even cruelty. Of course, Holden himself is guilty of both these crimes. His random and repeated lying highlights his own self-deception—he refuses to acknowledge his own shortcomings and is unwilling to consider how his behavior affects those around him. Through his lying and deception, Holden proves that he is just as guilty of phoniness as the people he criticizes.

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