Juxtaposition In Catcher In The Rye

When Phoebe asks Holden what he likes, he replies by saying, "I thought it was 'If a body catch a body,'" I said. "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." (Salinger 173). The top of the cliff symbolizes the innocent child life, but below the cliff symbolizes the adult world of phoniness. Holden wants to catch the children before the run off into the phony adult world. In conclusion, Holden wants to be the “catcher in the rye” as he wants to catch children’s innocence before they fall into the phony adult

The relationship between Holden and Phoebe forms a major theme that the novel aims to deliver. The fact that he is having this conversation with Phoebe, a child who is anything but simple and innocent, reveals the oversimplification of his worldview. Holden himself realizes this to a degree when he acknowledges that his idea is “crazy”, yet he cannot come up with anything more pragmatic; he has trouble seeing the world in any other way. His “catcher in the rye” fantasy reflects his innocence, his belief in pure, uncorrupted youth, and his desire to protect that spirit. On the other hand, it represents his extreme disconnection from reality and his naïve view of the world. Phoebe exposes to Holden a living embodiment of childhood. And it is a scene with her where she exposes to Holden the illogical nature of his supervisory actions, indicating that his desire to preserve her innocence will only halt her own inevitable development. Phoebe is the Greek word for “protector of children” (Bloom 2009, p185). Within the novel she is Holden’s protector. She comforts him, provides him with financial security, and protects him from getting in trouble with their mother. Reiff describes this reversal of roles between Holden and Phoebe as “Now, instead of saving the world by protecting the children, Holden wants to reject the world and shut himself off from evil by becoming a ‘deaf-mute’ in the West. It is Phoebe who rescues him from this total withdrawal” (Reiff 2008, p71). Phoebe forces Holden to view her as a human—living and progressing— rather than as a forever preserved child, and it is this humanization that causes Holden to accept her eventual progression into

Adolescence is often a confusing time where people still have elements of childhood, but they are beginning to enter the world of adults. People end up stuck between two points in life and feel that they can not quite fit into either. In J.D. Salinger’s novel The Catcher in the Rye, sixteen year old Holden Caulfield experiences the contradicting feelings of being a teenager while he is alone in New York City. He masquerades as an adult and his experiences represent various aspects of being an adult. He tries to act grown-up and engage in adult life, but at the same time he resists it and tries to hold onto the way things are. Salinger explores the image of adulthood using symbols. Symbols of adulthood hold for Holden a certain longing and resentment as he struggles with the turmoil of adolescence.

Salinger’s Catcher in the Rye has been into continuous dispute and controversy since its publication in 1951. Some critics think that Salinger 's narrative of the human plight is engrossing and enlightening, yet incredibly depressing. The leading character, Holden Caulfield, serves as the basis for critical discussion due to his psychological conflict. Salinger 's portrayal of Holden, which encloses incidents of dejection, nervous breakdown, impulsive spending, sexual exploration, and other wandering behavior, have all assist to the controversial nature of the novel. Yet the novel is praised by its piercing advocates, who argue that it is a critical look at the problems facing American youth during the 1950 's.

The quote above taken from Chapter 23 of Salinger's "Catcher in the Rye" depicts a conversation between Holden and his younger sister Phoebe after he sneaks into his parents apartment. It shows how Holden, the narrator doesn't want to grow up to be a part of the phony adult world. Instead he wants to "just be the catcher in the rye." Holden would just "have to catch everybody if they start to go over the cliff" which symbolically makes him a protector of the innocence of children before they have to grow up and join the adult world by taking that leap off the edge of the cliff. Through his longing tone while talking about the rye the reader sees the reluctance Holden carries with himself to grow up and get a real job among the adults that he

From its publication, The Catcher in the Rye gained widespread aversion from schools through its blatant profanity. But despite the time gap since the publication in the 1950s until now, the book explores immortal themes of adolescence and maturing still relevant today. Symbolizing the average teenage life, adolescents throughout the country are able to connect to Holden without question. As Holden agonizes over his purpose and depression, teens relate to this some intangible part of themselves. Holden frustrates over dating, drinking, low grades, switching schools, and life in general. Suddenly, in a second, as the adult world threatens the once serene childhood, as the weight of responsibility of being an adult crashes, Holden crumbles.

Holden wants to be the catcher in the rye and save the children from falling off the cliff. This cliff, however, is the real world, and Holden himself is afraid of it so he wants to protect children from it. This is also demonstrated when Holden visits his sister 's school and sees swears written on the wall. This makes Holden very mad, "It drove me damn near crazy. I thought of how Phoebe and all the other little kids would see it, and how they 'd wonder what the hell it meant…But I rubbed it out anyway, finally"(201). Holden was able to protect the children for a short while but a few moments later he sees the same thing written on the wall again. Only this time it is scratched in with a knife or something and Holden is unable to rub it away like before and realizes "It 's hopeless, anyway…it 's impossible" (202) he indicates here that growing up and facing certain reality is inevitable. Holden finally realizes that he can 't protect the kids from the real world when he watches Phoebe ride a carrousel at the zoo. "All the kids kept trying to grab for the gold ring…this thing with kids is, if they want to grab for the gold ring, you have to let

Phoebe is even seen by Holden as an impressive young child, and tells his audience that, “she'd wear white gloves and walk right between us, like a lady and all” 68). Holden compares Phoebe to “a lady” and convey’s even though she is a little child, she looks and acts like an adult at times. However, Holden does not want Phoebe to grow up the way he did, wants to protect her innocence, and does not want Phoebe to end up like him. That is why Holden wants to be “The Catcher In The Rye,” and wants to “catch everybody if they start to go over the cliff” (173). By not letting the kids fall off the cliff, he is protecting

Instead of acknowledging that adulthood scares and mystifies him, Holden invents a fantasy that adulthood is a world of superficiality and hypocrisy (“phoniness”), while childhood is a world of innocence, curiosity, and honesty. Nothing reveals his image of these two worlds better than his fantasy about the catcher in the rye: he imagines childhood as an idyllic field of rye in which children romp and play; adulthood, for the children of this world, is equivalent to death—a fatal fall over the edge of a cliff. His created understandings of childhood and adulthood allow Holden to cut himself off from the world by covering himself with a protective armor of cynicism. But as the book progresses, Holden’s experiences, particularly his encounters with Mr. Antolini and Phoebe, reveal the shallowness of his conceptions.

However, as the novel nears the end, Holden experiences his pivotal moment and takes on a different perspective of life. Rather than just going through with his plan of isolating himself from the superficial society, Holden decides to stay and face it, with its adulthood and phoniness. Seeing Phoebe attempt to grab the gold ring along with other kids, Holden thinks to himself, “I was... afraid she’d fall off... 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... If they fall off, they fall off” (211). Holden reaches the conclusion that he can’t be a catcher. He can only watch the children and in no way can he avert them from committing their own wrongdoings; he is not able to save them from shedding their innocence as they grow older and they will eventually. Releasing himself from the task, “[Holden] felt so damn happy” (213). A burden has lifted as he liberates himself from such a responsibility. He doesn’t have to carry the weight of executing the responsibility he shackled himself with, one that greatly affected him mentally. He knows that he does not have to keep up this pretense anymore.

For instance, Stratler wearing Holden’s jacket to go on a date with his Holden’s ex-girlfriend and Holden typing up Stratler’s paper on Stratler’s typewriter. Another example of the interconnectedness, yet divided, that displays within the novel are reflected in the idea of Sunny the prostitute. Holden is stammered with fear of losing his innocence, he desperately wants to remain a child in essence, but is somehow caught within the motions of slowly losing to what he clings to. With Sunny’s arrival, there is a presentment of a defining moment for Holden’s manhood. Holden rejected losing his virginity with Sunny.

While talking with Phoebe about a poem by Robert Burns, Holden explains, “I keep picturing all these little kids playing…And I’m standing on the edge of some crazy cliff…I have to catch everybody if they start to go over the cliff” (Salinger 173). Holden shows signs of being a hero many times, including this time. Holden does not want the children to hurt themselves if they fall off the cliff, so he will be there in order to catch them once they fall. Instead of injuring themselves, Holden rather hurt himself in order to save them. Furthermore, by being “The Catcher in the Rye,” Holden is able to protect children, especially Phoebe, from the realities of the outside world. At this age, Holden doesn’t want them to learn about violence, phoniness, and other aspects of adulthood that is superfluous. He fears that if they start to learn some of these characteristics of adulthood, they will lose their innocence as a child; but, he wants to maintain their adolescence and

Salinger’s The Catcher in the Rye has been pronounced a literary classic for its atypical portrayal of adolescence, to effectively convey the protagonist’s alienation and confusion. The introduction of The Catcher in the Rye is underpinned by disorder and confusion through a stream-of-consciousness narration, which digresses from one subject to another. Consequently, Holden’s multitudinous thoughts and feelings appear to lack a cohesive pattern. Additionally, Holden’s prevalent ascription of other students as “phony” (Salinger, p.3) alludes to his alienation and isolation as a form of self-protection; he rejects those he does not understand. Furthermore, the vocabulary encapsulates typical adolescence dialect of the 1940s, and resultantly, alienates contemporary reader. This is typified through Holden’s use of colloquial speech, in particular, his exclamation “that killed me” (Salinger, p.42) to express his amusement. Therefore, the introduction of Holden’s disjointed monologue in The Catcher in the Rye foreshadows Salinger’s unique interpretation of adolescence.

With this dream Holden is escaping into the adult world as he thinks about marriage and supporting his wife with a job. Holden demonstrates how he’d rather be a child who gets to fantasize about the adult world but never really enter it. When Phoebe, Holden’s little sister mentions their dad the first thing Holden results to leaving Colorado. Just when Holden is faced with a real life situation like how mad his dad will be, he says he’ll be away (Salinger 184). Those who disagree might state that Holden matured when he claims “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” (Salinger 191). Holden is referring to children that are not paying attention, playing in a field of rye and happen to fall off. Some would argue that Holden wanting to be a Catcher in the Rye or save children is a sign of maturity and Holden actually wanting to enter adulthood to take on this position. However, while Holden is at the carousel with Phoebe he notices children trying to grab for the golden ring and acknowledges

     J.D. Salinger's The Catcher in the Rye has captured the spirit of adolescence, dramatizing Holden Caulfield's vulgar language and melodramatic reactions. Written as the autobiographical account of a fictional teenage prep school student named Holden Caulfield, The Catcher in the Rye deals with material that is socially scandalous for the time (Gwynn, 1958). As an emotional, intelligent, and sensitive young man, Holden puts his inner world to the test through the sexual mores of his peers and elders, the teachings of his education, and his own emerging sense of self. Throughout the years, the language of the story has startled readers. Salinger's control of Holden's easy,