Tag Archives: New York City

Taking a Walk Through J. D. Salinger’s New York by James Barron

Seton Entrance - Edward Keating/The New York Times
Seton Entrance - Edward Keating/The New York Times

MLA Citation:

Barron, James. “Taking a Walk Through J. D. Salinger’s New York.” The New York Times. The New York Times Co., 28 Jan. 2010. Web. 14 Dec. 2010. <http://cityroom.blogs.nytimes.com/2010/01/28/taking-a-walk-through-jd-salingers-new-york/>.

First Paragraph:

Hey, listen. You know those ducks in that lagoon right near Central Park South? That little lake? By any chance, do you happen to know where they go, the ducks, when it gets all frozen over?

There it is: the Holden Caulfield question. Sara Cedar Miller gets it all the time.

Continue reading Taking a Walk Through J. D. Salinger’s New York by James Barron

Brow Beat: From Gotham with Love and Squalor: J. D. Salinger’s New York by Judy Rosen

MLA Citation:

First Paragraph:

“I almost always write about very young people,” J.D. Salinger said in 1946, and today this giant of midcentury fiction is being remembered as a chronicler of his time and, especially, of a time of life. But he was also a poet of place. Nearly all of Salinger’s troubled, brilliant young people—Holden and Phoebe, Seymour and Buddy, Franny and Zooey—are Manhattanites, and their stories are distinctly New York stories, set against a backdrop of bustling avenues and classic sixes on either side of Central Park, and narrated in an ironic, neurotic, contrarian voice whose provenance is unmistakable.

Continue reading Brow Beat: From Gotham with Love and Squalor: J. D. Salinger’s New York by Judy Rosen

Salinger and the Literary Geography of a Real and Fictional New York City

Written by Angelica Bega-Hart, November 2009.

According to Phillip Lapote there are ten themes [1] that occur “obsessively” in fiction written about or situated in New York City. (Lapote, xviii) Though Salinger does not appear at all in Lapote’s bulky anthology, several of those themes are manifest n Salinger’s writing.  As Ruth Prigozy notes,

The local references in Nine Stories clearly indicate a recognizable fictive world: New York City predominates, from the opening line in “A Prefect Day,” set in Miami but alluding to “ninety seven New York advertising men” (3). In “The Laughing Man, ” the precise geography of the city forms a substructure for the double layered story as does the east side of Manhattan for the dramatized encounters of “Just Before the War.” Whether the characters are on vacation, on a ship, in a foreign country, or in a Connecticut suburb of the city, the sensibility of Salinger’s world is firmly established by its references to the sophistication, polish, manners, and locales associated with the New York City of Salinger’s educated upper middle class. (qtd in Bloom, 93)

Certainly, Salinger’s familiarity with the city was an important part of his ability to portray it in a “precise” and stylized manner. And Salinger was as familiar with the city as anyone. Raised in New York, Salinger was born in 1919 to Sol Salinger and Marie (Miriam) Jillich at the Nursery and Child’s Hospital on West 61st Street. “Sonny” as he was nicknamed, went home to 103rd Street and Riverside Drive. As his father’s success increased the family moved to a house on West 82nd Street on the Upper West Side and then later to the fashionable and ritzy Upper East Side, to the building located at 1133 Park Avenue. (Alexander, 31-35) William Maxwell would later argue that Saliner’s childhood gave him a unique perspective on the city that would later dominate the settings for much of his fiction, saying:

JEROME DAVID SALINGER was born in New York City on January 1, 1919. So far as the present population is concerned, there is a cleavage between those who have come to the city as adults and those who were born and raised there, for a New York childhood is a special experience. For one thing, the landmarks have a very different connotation. As a boy Jerry Salinger played on the steps of public buildings that a non-native would recognize immediately and that he never knew the names of. He rode his bicycle in Central Park. He fell into the Lagoon. Those almost apotheosized department stores, Macy’s and Gimbel’s, still mean to him the toy department at Christmas. Park Avenue means taking a cab to Grand Central at the beginning of vacation. (Dead Caulfields [2])

Salinger’s time in New York lasted until his early teens, when he went away to prep school in Pennsylvania, but after a few brief years, he was back in the city of his birth attending college at New York University’s Washington Square College and later taking classes with Whit Burnett at Columbia University.  Perhaps more importantly, Salinger came back to New York at the conclusion of the war and spent time in Greenwich Village where he made connections with other aspiring writers. (Alexander, 114)

Despite Salinger’s New York roots and the tendency of his stories to focus on New Yorkers with overt references to important New York City landmarks, Salinger is not often anthologized as a New York writer. Most often included in anthologies about the Big Apple are earlier writers such as Washington Irving and Walt Whitman and from Salinger’s generation, John Cheever, John Updike, and the Beat poets. One anthology of New York writing that does include Salinger is David Remnick’s Wonderful Town: New York Stories from The New Yorker. In it, Remnick includes stories that “reflect the city’s moods and crises over seventy-five years,” from writers who “are legion” and who have “helped create a powerful and complex portrait of New York.” Most importantly, Remnick says he aims for a “quality of endurance” (Remnick, xii) Remnick apparently sees such a quality in one of Salinger’s earliest short stories, “A Slight Rebellion Off Madison,” which illustrates a scene that would eventually be rewritten (from a different point of view) and incorporated into Salinger’s most famous work, The Catcher in Rye. It remains unclear if, as Paul Alexander suggests, Salinger may have prevented his work from being reproduced in anthologies [3] and whether this fabled decision of Salinger’s is the primary reason for his lack of inclusion in a number of New York anthologies. (Alexander, 24)

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Terrific Liars: An Analysis of Fredrik Colting’s 60 Years Later: Coming Through the Rye as it Relates to J.D. Salinger’s The Catcher in The Rye

60 Years Later Coming Through the Rye
Photo from ABE Books website

Written by Elizabeth Downing Johnson – December 2009

J.D. Salinger’s novel The Catcher In The Rye has attracted a lot of attention in its 58 years of literary life.  Published in 1951, the novel received mixed critical reviews, garnering praise from The New Yorker, The Book-of-the-Month Club, Atlantic, Time, and Saturday Review (to name a few), but receiving criticism from publications like The New Republic, The Nation, New York Herald Tribune, Catholic World, and The Christian Science Monitor.  A decade later, schools and libraries would ban The Catcher in the Rye, stating that the language was inappropriate and that the themes were blasphemous and immoral.  Mark David Chapman, the man who shot John Lennon, testified that he was sure that “the large part of me is Holden Caulfield,” (Jones, 1), and John Hinckley Jr,’s attempt on Ronald Reagan’s life, as well as Robert John Bardo’s murder of a young television star, are also associated with the novel.

Obviously, not all press is good press, and despite Salinger’s notorious reclusive behavior, readers of The Catcher in the Rye can be sure that Salinger’s intention was not to encourage psychotic behavior.  Along with this assumption, one could also assume that Salinger’s intention was not to spawn a published “Unauthorized Fictional Examination of the Relationship Between J.D. Salinger and his Most Famous Character,” which is the claim printed on the back cover of a book titled 60 Years Later:  Coming Through the Rye.  This book, written by one Fredrik Colting (pen name J.D. California) was the topic of many news stories in the summer of 2009.  In fact, Salinger’s legal representation put a stop to the book’s American publication, stating that the book was a “rip off, pure and simple”  (Staff, Concord Monitor).  Since the book is still (as of December, 2009) unpublishable in the United States, so far no examination has been made to discern whether the book actually “works” as a sequel or as a “fictional examination” of Salinger and his relationship with Holden Caulfield.  In order to do this, one would have to read 60 Years Later and compare it to the themes and style of The Catcher in the Rye.  Luckily, (or unluckily), I have done so, and will attempt herein to give an objective analysis of the book and its relationship to Salinger’s masterpiece.  Despite any attempt at objectivity, the textual and thematic analysis will prove that Colting’s attempt falls short of its goal.

In any comparative analysis, the best place to start is the text itself.  Themes are debatable, but the text itself does not lie.  This will be the first step in our journey, only after an introduction to 60 Years Later:  Coming Through The Rye for those who have not had the chance (or the inclination) to buy it from another country.  The plot of the novel follows an elderly Mr. C., who wakes up in a nursing home thinking that he is still the young Holden Caulfield from The Catcher in the Rye.  He is confused and thinks that his brother D.B. has been there the week before (while we find out later in the novel that D.B. died some time ago from a drug overdose), and he is shocked when he looks in the mirror and sees an old man looking back at him.  The narrative is interrupted intermittently by italicized text that is supposed to be Salinger himself pondering over the fact that Holden seems to have had a whole life in the years since Salinger wrote his original story.  The second chapter consists of only two sentences, “I’m bringing him back.  After all these years I’ve finally decided to bring him back” (Colting, 9).  The first four chapters are a slightly hallucinogenic account of Mr. C.’s description of his surroundings and his realization that he is now an old man.  The end of the forth chapter ends with another section of what is supposed to be Salinger’s internal narrative, wherein he decides that

The most important rule, the one you cannot break or go around, is that everyone here needs to have a past.  It’s really true everywhere but especially so here.  If you don’t have a past you don’t exist.  So I have to give him something to hold on to;  I need to give him a life.  Right now he’s confused, the poor boy.  Who wouldn’t be?  But it will pass.  This very moment he is nothing but empty space.  He is like a piece of paper upon which you have once started a story,and then locked in a box and buried deep in the ground.  Now, 60 years later, you dig that same box up and continue the story from where the last sentence ended  (Colting, 36).

Continue reading Terrific Liars: An Analysis of Fredrik Colting’s 60 Years Later: Coming Through the Rye as it Relates to J.D. Salinger’s The Catcher in The Rye

Between Grief and High Delight: The Glass Menageries of J.D. Salinger & Tennessee Williams

Creative Commons License Written by Angelica Bega Hart. December 2009. The author wishes to note that this work is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

"The Glass Menagerie" cover
The Glass Menagerie (user uploaded image from Good Reads)

Critics have often examined the underlying significance of religion in J.D. Salinger’s short fiction. This is entirely appropriate for a number of reasons, not the least of which is because what little we know about Salinger’s biography suggests that he avidly followed a number of religious traditions. As a young man growing up in a mixed religious household, as a Jewish soldier in World War II, and as more than a dilettante in the area of alternative spiritualities including Vedanta Hinduism, Zen Buddhism and even at one point, Dianetics, Salinger’s attention to religion seems tantamount to understanding his work.  Moreover, there are both overt and covert references to Eastern and Western spiritualities in his fiction.  The relevance of religious criticism has often predominated critical attention to Salinger’s 1957 novella Zooey.

Critical attention which has not centered on religion has often focused instead on elements of character or on the ephiphanic moment during the narrative’s climax. Seymour’s “Fat Lady” is one such primary target for debate. Furthermore, many psychoanalytic critics have investigated the relationship between Zooey and his mother Bessie. However, all of these critics may have missed an important corollary to Zooey, in Tennessee Williams’ popular 1944 drama, The Glass Menagerie. Apart from a mention in Gwynn and Blotner, [1] contending that Salinger fills a void left by post-war writers including Williams, and a brief, punning nudge to the play in Charles Poore’s New York Times Review of Franny and Zooey, [2] there is little mention of any connection between these two works of post WWII American fiction. While there are important differences as well, these works share more than a passing resemblance to one another.  These similarities are most evident in the three main characters of each narrative. Other details of the stories mimic one another as well, as both employ elements of Romanticism and struggle with the idea of virtue. Both also deal with time and performativity in interesting ways in order to connect those elements thematically to the narratives. And ironically, both create some of the same mythic and symbolic connections.

Continue reading Between Grief and High Delight: The Glass Menageries of J.D. Salinger & Tennessee Williams