Wednesday, February 22, 2012
My two closest friends told me I was Holden Caulfield. Holden is the narrating protagonist of J.D. Salinger’s novel “Catcher in the Rye.” I was a high school junior at the time and had never read the book, but I did have a vague notion of its plot, which seemed noneventful to say the least. I’d gathered that my alleged fictional doppelganger was possibly crazy, definitely annoying and ended his journey in an insane asylum.
In a moment of very defensive curiosity, I found myself reading this apparent manifesto of my character during some downtime at a bookstore. I read a few chapters, bought the book, finished it the next day and relented with less shame than I’d expected that I was absolutely Holden Caulfield.
It was unsettling to have a fictional character be such a direct reflection of myself even in ways unobserved by my two friends. The line between fact and fiction became distorted. I was unable to consider Holden a fictional character anymore.
I knew him, and whenever I attempted to disassociate myself from him, it seemed as dishonest as positing that I myself was a fictional character. “The Catcher in the Rye” became an invaluable and uncommon document of my young personhood from an objective viewpoint, allowing me to finally grow out of being Holden Caulfield, which I needed to do and may never have done otherwise.
This is the root of why I’m angered by the idea that “Catcher” is a bad novel, which many students believe. I know for a fact, as I hope I’ve illustrated, that the book has truth and I have to wonder what its haters were looking for in the first place. I don’t care if people dislike Holden, but to transfer disdain for a character into a disdain for the book he inhabits signals that some don’t know the difference, but more to the point, that some don’t know why good novels exist in the first place.
Good authors like J.D. Salinger wrote their stories because they had a desire for exploration. What they were looking for and how was their own business, but that appetite is the only reason any story exists.
Salinger, for instance, explored people through action and dialogue as few have done since. In each of his stories, he manages to create characters so vivid that readers become as uncomfortable as my friend became when she read his second novel, “Franny and Zooey.”
Reflections of reality don’t usually have that kind of flesh and blood, but Salinger found a way to give it to them and sometimes, as with “Rye,” managed to remove his own voice from the narrative entirely. That is empathy, which neither fiction nor documentary can survive without from their audiences. If you can’t relate to stories told by human beings about human beings on that basic level, then to whom outside yourself do your criticisms matter?
Too many people feel that all books and movies are made expressly for the purpose of pleasing them. Why, for any reason other than commerce, would people with integrity devote their lives to entertaining you?
If your desires are limited to a need for “entertainment,” then they reside in a very shallow place. Why don’t you want to “laugh”? Why don’t you want to “give a crap” or “discover” or “fall in love”? Those sound like desires worth pursuing. Life provides those things and if good stories are reflections of life, then they’ll give those things. You won’t know that’s happening until you give back.
— Coy is a sophomore in film and media studies from Lenexa.
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Comments
Coy: Movie and films aren't mean just for entertainment
salinger is messed up. i guess it takes one to know one.
Coy: Movie and films aren't mean just for entertainment
So says buttercup456. I read this whole article only because of the headline.
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