For Banned Books Week: An X-ray reading from Catcher in the Rye
[caption id="attachment_271131" align="alignleft" width="300"] File photo of J.D. Salinger appears next to copies of his classic novel "The Catcher in the Rye" as well as his volume of short stories called "Nine Stories." (AP Photo/Amy Sancetta, File)[/caption]Earlier this year the editors of American Scholar published a dozen examples of “best sentences,” passages from classic literature worth saving and savoring. I was inspired by these and offered my own interpretation of what made them memorable. Now I’ve caught the bug and there appears to be no cure. With the blessing of Robert Wilson, editor of AS, I have chosen a number of sinewy or shapely sentences for X-ray reading, trying to understand what a writer can learn from each. (We’ll be publishing these exemplars occasion, highlighting the writing strategies that created them.)
Since this is also Banned Books Week, I begin with the first sentence of one of the most celebrated banned books of all time: The Catcher in the Rye, published by Little, Brown, which also, I’m proud to add, happens to be my publisher. (Also thinking of moving to Vermont to become a recluse.)
If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth. (63 words)
-- J.D. Salinger, The Catcher in the Rye
Following in the footsteps of Mark Twain in Huckleberry Finn, J.D. Salinger sacrifices his own language and mature insights (sort of) to turn narration of his novel over to a prep school student, Holden Caulfield, who came to represent the alienation of the post-World War II generation.
This is a carefully constructed text, of course, but it doesn’t sound that way. That’s the magic of it. It sounds like someone talking. How do you do that? You use the second person (“you”), contractions (“you’ll,” “don’t”), slang (“lousy”), intensifiers (“really”), verbal punctuation (“and all”), and mild profanity (“crap”). The cumulative effect is informal and conversational.
Of all his literary gifts, Salinger had a great ear for the spoken word and captures the idioms of his time in phrases like “how my parents were occupied” and “if you want to know the truth.” A double-edged razor hides in both phrases. The first one could mean (“what my parents did for a living,”) but “occupied” carries with it some negative connotations, as in the word “pre-occupied,” that is, distracted.
The second phrase “if you want to know the truth” is used mostly as filler in conversation, and yet the key word “truth” comes at the end, inviting the question of whether Holden is a reliable narrator about his own life story.
My favorite phrase here is “and all that David Copperfield kind of crap.” This feels like a mature literary allusion rather than the ramblings of an alienated teenager. Note the alliteration, the repetition of hard “c” sounds: Copperfield, kind, crap. Perhaps Holden sees himself as a Dickensian character like David Copperfield who experiences an endless series of traumatic events in his young life. Or, perhaps, the reclusive author is sending a secret signal: Just as David Copperfield is considered Dickens’s most autobiographical novel, Catcher contains, we now know, many parallels to the young life of J.D. Salinger.
I must note that Catcher remains on many lists of banned books. However mild the word “crap” appears to us, it signals to the reader the rougher words to come, including some f-bombs that excited students, but traumatized some parents and School Board members.
By the end of the novel, Holden reveals that he is in therapy and repeats a key phrase from the beginning: “If you want to know the truth, I don’t know what I think about it, ” that is everything that he has told us. There is a kind of group therapy feel to the language from the beginning, as if he’s answered a question from a shrink about his childhood and parents: “If you really want to hear about it….”
In summary, it takes skill to create prose that sounds like someone speaking directly to the reader. We have a name for that effect: voice. It’s hard enough to achieve when the narrator is the author. It’s even more challenging when the author turns over that task to a teenage boy who likes to wear a red hunting cap.