The Catcher in the Rye
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Did anyone else just not "get" this book?
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Charlie
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rated it 2 stars
May 15, 2011 05:46PM

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I was just thinking the other day how nice it would be to be able to approach any book with no preconceptions - this is supposed to be a classic, or that is deemed to be trash. This is one of those books that I vaguely intend to re-read because it left me feeling I missed something, but I don't know if that's just because of its reputation. The Turn of the Screw left me feeling exactly the same way.


http://www.goodreads.com/list/show/93...


I completely disagree. I don't know, I read the book when I was 16 (which was only 8 years ago) and loved it. But Catcher in the Rye was not written for everybody. You have to be a certain kind of teenager to really appreciate it. Go to any American high school, and find the kids getting high behind the trees in the back and they'll tell you it's the best book they've ever read.


I can't agree with you on Moby Dick. Here's my review:
Call me Fishmael.
I gave MOBY DICK four stars because 80% of the novel is a rip-roaring adventure on the high seas, while 20% consists of digressions or sidebars that stop the story in its tracks. Some sample digressions are the classification of whales, whiteness, clam chowder, illustrators of whales, and so on. All of these detours do support the story, some more than others (whiteness), but they still interrupt the narrative flow. If I were teaching this now to gifted high school students, I would propose something heretical. I would mark certain chapters as optional—it’s easy to find them given the chapter headings—but I would include them in class discussion by assigning students to individual chapters. Their merits could then be debated. I would suggest to anyone re-reading MOBY DICK or approaching it for the first time to take a similar approach—skip the detours unless you find them interesting.
As for the bulk of the novel, it’s like a superabundant ocean overflowing with treasures. The passages describing the hunting, killing, and harvesting of whales are incomparable. Adding to this corpus delectable are vigorous characters, Shakespearean language and irony, classical and Biblical allusions, allegory and metaphor, laugh-out-loud humor, and an engaging narrator who disappears seamlessly in the latter sections of the tale.
Many of these elements are present in one of my favorite scenes. The Pequod frequently encounters other ships on its journey (these meetings are called “gams”), and Ahab in his haste to board one of these vessels realizes that his artificial leg will not allow him to climb from his dinghy to the other boat’s deck. A huge grappling hook is lowered, one that is used to secure the carcasses of whales to the boat, and Ahab sits in the curve of the hook while being raised to the passing ship’s deck. All of the gams in MOBY DICK are amusing and enlightening because Ahab’s sole concern is to ask the other captains if they’ve seen the white whale, while their intent lies elsewhere. The conversations are thus at cross purposes, providing humor, and serve to underline Ahab’s obsession.
Two scenes were remarkably reminiscent of HAMLET. Starbuck, the first mate, is convinced that Ahab is leading the crew to its doom. Late in the story, he eyes a musket outside of Ahab’s cabin and considers murdering the sleeping captain. After a long soliloquy, during which Ahab cries out nightmarishly, Starbuck passes up the opportunity, much as Hamlet does when he encounters Claudius alone and praying. Anyone familiar with HAMLET cannot miss the unmistakable foreshadowing. In another scene, Ahab and the ship’s carpenter are discussing Queequeg’s coffin, which is actually a canoe of sorts. The carpenter has been given the task of converting the coffin into a life buoy, a humorous irony in itself. The ensuing conversation is not unlike Hamlet’s hilarious exchange with the gravedigger.
Ahab: Art thou the leg-maker? Look, did not this stump come from thy shop?
Carpenter: I believe it did, sir; does the ferrule stand, sir?
Ahab: Well enough. But art thou not also the undertaker?
Carpenter: Aye, sir; I patched up this thing here as a coffin for Queequeg. ; but they’ve set me now to turning it into something else.
Ahab: Then tell me; art thou not an arrant, all-grasping, intermeddling, monopolizing, heathenish old scamp, to be one day making legs, and the next day coffins to clap them in, and yet again life-buoys out of those same coffins? Thou art as unprincipled as the gods, and as much of a jack-of-all-trades.
The twists and turns of fate are out of Ahab’s control, but Melville’s mastery of MOBY DICK is complete.

Perhaps it's because I do need some plot to hang characterisation on; I've never been a fan of the 20th century tendency of literary fiction to dispense with plot as something that should only be used by genre fiction.
Oddly, I've noticed that a lot of people who love Catcher seem hate one of my favorites, The Great Gatsby. There are a lot of similarities; the mores and language of another era, privileged, self-absorbed, unlikable characters. But the way they act interests me; the way they react and interact - which is something lacking in the internal monologue of Holden Caulfield. And, although this is obviously pure value judgment, on my single experience of Salinger I think Fitzgerald is a far better writer. I must read something else by him, perhaps Franny and Zooey.

By some quirk in my personal history, I'd never read Gatsby. It has many beautifully written, poetic passages, and Gatsby's demise retains an ineffable sadness that moved me in the final pages. The absence of mourners at his funeral was particularly poignant. Fitzgerald's theme of pursuing an incompletely realized dream is universal, with the corollary that if one's timing is off, the dream may forever remain out of reach. Add to this a crushing irony: in order to win Daisy, Gatsby strove to make himself a member of her wealthy Long Island society, but she is shallow and frivolous and her husband is brutish and racist. The others in their group show no loyalty to Gatsby, the man who'd thrown them lavish parties, by deserting him in death.
I'll comment briefly on the poetic nature of Fitzgerald's prose. He uses two metaphors involving water that are linked inextricably to the action of the novel. At the beginning of the story, the narrator, Nick, notes that "Conduct may be founded on the hard rock or the wet marshes..." comparing conduct to an edifice that can be built on a solid base ("hard rock") or a tenuous one ("wet marshes"). Foreshadowing is at work here as Gatsby's springboard into affluent society turns out to be a yacht in a dangerously shallow mooring. Unfortunately, Gatsby is floating in his pool at the end when he is shot to death. The novel concludes with another "wet" metaphor in the justly famous line "So we beat on, boats against the current, borne back ceaselessy into the past." Humans are boats struggling to row into the future, while all the while carried backward by Time's river. Figures of speech are only effective if they complement the surrounding language and action.
Another vivid display of language occurs at the beginning of Chapter III with a 2 1/2 page description of the preparations for and beginning of a typical Gatsby party. "On buffet tables, garnished with glistening hors d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold." Later, the narrator notes, "The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusisatic meetings between women who never knew each other's names." A milieu built on the "wet marshes" indeed.
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What I also learnt in that episode that the book was read by John Lennon's killer.


I read the book during that timeframe and found it shocking, hysterical, etc. for that period of time. The topic is nothing compared to what we are exposed to on an hourly basis.


I completely disagree. I don't ..."
I agree with this. It's one of my favorite books and most of those who agree with me are stoners. Lol




Could be."
That's from the point of view of one who didn't get it as a teenager and was a lot like him, but even more like Franny of Franny and Zooey.

That was very much my experience. I read it early in hight school and thought, "so what?". I read it again in my second year of college and although it had only been 4 years difference - it was amazing how different I perceived it at the second reading.



S Alini, Author
alinibooks.blogspot.com



I read the book a second time when I was in my mid 40's and I thought it was boring. I wanted to slap the crud out of Holden. I guess after thirty years of growing up and raising two teenagers, I found the book no longer to be amusing nor was Holden "cool".



Your young mind. It was celebrated as a book for teenagers, but really, it's just a book about a teenager.




In my understanding, he is a lonely teenager looking for someone to talk to, because that's basically what he does for almost the entire book-look for someone to talk to.
Of course he's whiny cause he's bitter and alone. A pessimistic view on the world can only be brought on by 'SERIOUS' loneliness.

I'm an American who grew up in NYC, but at age 14, I did not get it at all.

It's from a teenagers point of view, not only that, but a depressed, alienated, lonely teenager. For someone that isn't in the teenage years, or for teens that don't feel depressed, alienated, or lonely, it doesn't really resonate with them. However, for someone that has experienced these kinds of feelings, it makes Holden very real. The people can relate to him, he can say what they can't say. Holden helps teens that feel the same way as him feel not so alone. Giving someone to relate to, so they know they're not alone, and others have felt the same way.
This is a great book, if you can relate to it.



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