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Share on Facebook Click me! Share on Twitter Click me! Salinger's novel was edgy and controversial when teachers first put it on their syllabi. But that was 50 years ago. Today, Salinger's novel lacks the currency or shock value it once had, and has lost some of its critical cachet.
But it is still ubiquitously taught even though many newer novels of adolescence are available. To this day, The Catcher in the Rye remains one of the most referred-to books on back-cover blurbs.
Salinger and John Waters.
But Salinger's novel no longer deserves the top spot in contemporary coming-of-age literature, even if most would still agree that it firmly occupies the X spot in the "X meets Y" publishing pitch "It's Catcher in the Rye meets Blood Diamonds"; "It's Catcher in the Rye for gay teenagers".
High school teachers got on the Catcher bandwagon in the early s, in an effort to update their hoary reading lists. When it was first assigned, Catcher's purpose in the curriculum was to offer students a contemporary, cool alternative to, say, something lengthy and dense like David Copperfield.
Salinger had a prescient sense of his hero's eventual cultural role: Holden starts his story by telling us he is not going to rehearse "all that David Copperfield kind of crap," because it bores him.
If Salinger needed to acknowledge Dickens intoday any new adolescent coming-of-age tale must go through "all that Holden Caulfield crap. That remains more or less true, but now the equation for the modern bildungsroman is more like, as a friend puts it: Released in the summer of by a year-old writer with a modest reputation as a short-story writer, Catcher was a mid-summer Book-of-the-Month Club selection, and by fall it was fourth on The New York Times Best-Seller list.
A scant eight years later, the critic Granville Hicks thought twice about including Catcher on his New York University Contemporary American Literature syllabus, because year-olds had already read it.
One reason for Catcher's instant-classic status was that is was-to employ that overused neologism-"relatable" to those who had the power to write about it. Joan Didion, who thought Salinger's work slight, mocked the "relatability factor" of Salinger's novel in a essay, in which she describes a "stunningly predictable Sarah Lawrence girl" who declared Salinger "the single person in the world capable of understanding her.
Its main appeal to students, he argued, is simply that the young like to read about the young, prefer short books, and ones without too many references to other books. Salinger, he says, "flatters [their] very ignorance and moral shallowness. It is a part of literary history.
He's part of our common conversation, our cultural literacy. You have to admire the guy.
Still, after half a century of new, equally "relatable" coming-of-age-stories, don't some of Holden's younger siblings deserve the end-of-the-year spot in sophomore English?
Since a syllabus is a zero-sum game, adding means knocking something off the list "Scarlet Letter! But not to worry: Given that a higher population of Americans now attend college than they did in the s, most will be forced to read the old classics a few years later.
Freaks and Geeks NBC's series, produced by Judd Apatow, deftly portrayed the tenderness and anxiety of high school.
Speak, Laurie Halse Anderson Anderson's Speak tells the story of Melinda, a high school freshman and teenage outcast whose struggles with adolescence cause her to fall mute. The lyrical, inventive prose makes their stories all the more memorable.
Project X, Jim Shepard Shepard's bold novel tells the story of two eighth-graders in a Columbine-style school massacre.
Shepard tackles one of the scariest aspects of 21st-century adolescence. American Born Chinese, Gene Luen Yang This graphic novel tells that age-old story of trying to accept who you are.
Taking up Asian-American themes, Yang breaks new bildungsroman ground. Old School, Tobias Wolff Set in a prep school in the early s, a scholarship boy with literary ambitions tries to find his voice.
Wolff reworks Salinger's terrain without sentimentality. The Virgin Suicides, Jeffrey Eugenides The first novel by the author of Middlesex plays with the horror genre, and tells us that not all is at it appears in suburbia.
Unflinching and masterfully written, Suicides is not easy, but that's the point. Anywhere But Here, Mona Simpson A mother-daughter story about life on the road and a child's desire to be rooted.Transcript of Catcher In The Rye Songs That Relate 1.
Call Me Maybe By Carly Rae Jepsen Explanation: Throughout the book, calling someone is a big thing for Holden. “The Catcher in the Rye” was turned down by The New Yorker.
The magazine had published six of J. D. Salinger’s short stories, including two of the most popular, “A Perfect Day for.
Catcher in the Rye Song The song “Talk”, by Coldplay is about feeling confused about life, especially about the future, and needing to talk with someone about it in order to get all the worries and concerns and fears out in the open, and hopefully try to figure out a solution to them. "Comin' Thro' the Rye" is a poem written in by Robert Burns (–96).
The words are put to the melody of the Scottish Minstrel Common' Frae The attheheels.com is a variant of the tune to which Auld Lang Syne is usually sung—the melodic shape is almost identical, the difference lying in the tempo and rhythm..
G. W. Napier, in an Notes and Queries, wrote that. Later, at the end of the film during the end credits, the song "Smoke Gets in Your Eyes" is played, the same song Holden Caulfield listens to as it's played by the carrousel in the final scene of The Catcher in the Rye. The Catcher in the Rye is J.D.
Salinger’s novel of post-war alienation told by angst-ridden teen Holden Caulfield. Controversial at the time of publication for its frank language, it was an instant best-seller, and remains beloved by both teens and adults.