Holden Caulfield Quotes

And I have one of those very loud, stupid laughs. I mean if I ever sat behind myself in a movie or something, I'd probably lean over and tell myself to please shut up.

Certain things, they should stay the way they are. You ought to be able to stick them in one of those big glass cases and just leave them alone.

Anyway, I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobody's around - nobody big, I mean - except me. And I'm standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff - I mean if they're running and they don't look where they're going I have to come out from somewhere and catch them. That's all I do all day. I'd just be the catcher in the rye and all. I know it's crazy, but that's the only thing I'd really like to be.

I'm the most terrific liar you ever saw in your life. It's awful. If I'm on my way to the store to buy a magazine, even, and somebody asks me where I'm going, I'm liable to say I'm going to the opera. It's terrible.

I think, even, if I ever die, and they stick me in a cemetery, and I have a tombstone and all, it'll say 'Holden Caulfield' on it, and then what year I was born and what year I died, and then right under that it'll say 'Fuck you.' I'm positive, in fact.

I don’t give a damn, except that I get bored sometimes when people tell me to act my age. Sometimes I act a lot older than I am - I really do - but people never notice it. People never notice anything.

That's the whole trouble. You can't ever find a place that's nice and peaceful, because there isn't any. You may think there is, but once you get there, when you're not looking, somebody'll sneak up and write "Fuck you" right under your nose. Try it sometime. I think, even, if I ever die, and they stick me in a cemetery, and I have a tombstone and all, it'll say "Holden Caulfield" on it, and then what year I was born and what year I died, and then right under that it'll say "Fuck you." I'm positive, in fact.

I felt so lonesome, all of a sudden. I almost wished I was dead.

I was surrounded by phonies...They were coming in the goddam window.

We're all Holden Caulfield at fifteen, but when we grow up we want to be Atticus Finch

Don't tell anybody anything. If you do, you start missing everybody." - Holden Caulfield The Catcher in the Rye

That's something that annoys the hell out of me- I mean if somebody says the coffee's all ready and it isn't

You never even worried with Jane, whether your hand was sweaty or not. All you knew was, you were happy. You really were.

I don’t even like old cars. I mean, they don’t even interest me at all. I'd rather have a goddam horse. A horse is at least human

Holden Caulfield is the embodiment of what we mean by the phrase “young adult” – too young to be a grown-up, but too wise to the world to be completely innocent. He’s caught in the in-between, and that in-between is what all young adult authors write about.

What I really felt like, though, was committing suicide. I felt like jumping out the window. I probably would've done it, too, if I'd been sure somebody'd cover me up as soon as I landed. I didn't want a bunch of stupid rubbernecks looking at me when I was all gory.

I'd never seen that look on another face before, had never identified it in another person. I'd only met with it in fiction. But everyone falls in love with Holden Caulfield when they're sixteen. They read Catcher in the Rye and don't feel so alone.

Lawyers are alright, I guess — but it doesn't appeal to me", I said. "I mean they're alright if they go around saving innocent guys' lives all the time, and like that, but you don't do that kind of stuff if you're a lawyer. All you do is make a lot of dough and play golf and play bridge and buy cars and drink Martinis and look like a hot-shot. And besides, even if you did go around saving guys' lives and all, how would you know if you did it because you really wanted to save guys' lives, or because you did it because what you really wanted to do was be a terrific lawyer, with everybody slapping you on the back and congratulating you in court when the goddam trial was over, the reporters and everybody, the way it is in the dirty movies? How would you know you weren't being a phony? The trouble is you wouldn't.

the sentence im reading is terrific ...

D.B. asked me what I thought about all this stuff I just finished telling you about. I didn't know what the hell to say. If you want to know the truth, I don't know what I think about it. I'm sorry I told so many people about it. All I know about it is, I sort of miss everybody I told about. Even old Stradlater and Ackley, for instance. I think I even miss that goddam Maurice. It's funny. Don't ever tell anybody anything. If you do, you start missing everybody.

Girls. Jesus Christ. They can drive you crazy. - Holden Caulfield

Dont's ever tell anybody anything. If you do, you start missing everyone- Holden Caulfield

Girls with their legs crossed, girls with their legs not crossed, girls with terrific legs, girls with lousy legs, girls that looked like swell girls, girls that looked like they'd be bitches if you knew them... You figured most of them would probably marry dopey guys. Guys that always talk about how many miles they get to a gallon in their goddam cars. Guys that get sore and childish as hell if you beat them at golf, or even just some stupid game like ping-pong. Guys that are very mean. Guys that never read books. Guys that are very boring.

He once told Allie and I that if he'd had to shoot anybody, he wouldn't've known which direction to shoot in. He said the Army was practically as full of bastards as the Nazis were.

And I realize I've been betrayed by the two vices that fiction promised me I'd adore. Sal Paradise held up bottles of booze like a housewife in a detergent commercial. Holden Caulfield reached for his cigarettes like an act of faith. Even Huckleberry Finn tapped on his pipe with relief and satisfaction. If sex turns out to be this bad, I'm never reading again.

That digression business got on my nerves. I don't now. The trouble with me is, I like it when somebody digresses. It's more interesting and all. ...lots of time you don't know what interests you most till you start talking about something that doesn't interest you most. ...I like it when somebody gets excited about something.

I want to be William Shakespeare and Galileo and Robert Frost. I want to be Sappho. I want to be Jane Austen. I want to be Holden Caulfield and Marilyn Monroe and Joan of Arc. I’m sad to think they came before me in history, they made their mark without me. But they were there. They happened.

I'd forgotten that all runaway stories end like this. Everyone goes home. Dorothy clicks her way back to Kansas, Ulysses sails his way home to his wife, Holden Caulfield breaks into his own apartment ... Here I was, just like Ian, just like Dorothy and everyone else, heading back home at last ... You think you can't go home again? It's the only place you can *ever* go.

The thing is, it's really hard to be roommates with people if your suitcases are much better than theirs - if yours are really good ones and theirs aren't. You think if they're intelligent and all, the other person, and have a good sense of humor, that they don't give a damn whose suitcases are better, but they do.

It's 'If a body meet a body coming through the rye'!" old Phoebe said. "It's a poem. By Robert Burns." "I know it's a poem by Robert Burns." She was right, though. It is "If a body meet a body coming through the rye." I didn't know it then, though. "I thought it was 'If a body catch a body,'" I said. "Anyway, I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobody's around — nobody big, I mean — except me. And I'm standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff — I mean if they're running and they don't look where they're going I have to come out from somewhere and catch them. That's all I'd do all day. I'd just be the catcher in the rye and all. I know it's crazy, but that's the only thing I'd really like to be. I know it's crazy.

Jane Gallagher had wanted to know what time it was, but for some reason Holden Caulfield hadn't wanted Stradlater to tell her. When Stradlater refused to tell Holden Caulfieldwhether or not he had told Jane Gallagher what time it was, Holden Caulfield became enraged and attacked him in a fit or horological savagery, possibly because he was mentally ill and hated anyone byt him knowing what time it was

We have a bad habit of seeing books as sort of cheaply made movies where the words do nothing but create visual narratives in our heads. So too often what passes for literary criticism is "I couldn't picture that guy", or "I liked that part", or "this part shouldn't have happened." That is, we've left language so far behind that sometimes we judge quality solely based on a story's actions. So we can appreciate a novel that constructs its conflicts primarily through plot - the layered ambiguity of a fatal car accident caused by a vehicle owned by Gatsby but driven by someone else, for instance. But in this image-drenched world, sometimes we struggle to appreciate and celebrate books where the quality arises not exclusively from plot but also from the language itself.

J. D. Salinger's Holden Caulfield is a literary descendant of Huck Finn: more educated and sophisticated, the son of affluent New Yorkers, but like Huck a youthful runaway from a world of adult hypocrisy, venality and, to use one of his own favourite words, phoniness. What particularly appals Holden is the eagerness of his peers to adopt that corrupt grownup behaviour.

So the Trustees of Ohio State were right in 1956 when they canned the English instructor for assigning Catcher in the Rye to his freshman class. They knew there is no qualitative difference between the kid who thinks it's funny to fart in chapel, and Che Guevara. They knew then Holden Caulfield would found SDS.

When I really worry about something, I don´t just fool around. I even have to go to the bathroom when I worry about something. Only, I don´t go. I´m too worried to go. I don´t want to interrupt my worrying to go.

In Catcher in the Rye, the protagonist Holden Caulfield mentions reading books that make him wish he could be friends with the author and be able to call him on the phone and so forth. I would consider a literary work that made someone feel this way a success. Furthermore, it’s the only kind of success in literature that means anything to me.

I glance at the red-stenciled words crossing my chest—HOLDEN CAULFIELD IS MY HOMEBOY.

People are always ruining things for you. Holden Caulfield

is he crazy?" --Harcourt-Brace editor on Holden Caulfield

It’s the hipsters,” David said. “It’s retro. They need a place to convene and argue whether Holden Caulfield was deep or just a spoiled brat.

I am Holden Caulfield, only less reckless, and more attractive.

Her mother likes to say that novels have ruined Amelia for real men. This observation insults Amelia because it implies that she only reads books with classically romantic heroes. She does not mind the occasional novel with a romantic hero but her reading taste are far more varied than that. Furthermore, she adores Humbert Humbert as a character while accepting the fact that she wouldn't really want him for a life partner, a boyfriend, or even a casual acquaintance. She feels the same way about Holden Caulfield, and Misters Rochester and Darcy.

Royal Young’s memoir is about a dreamer, set in the post- apocalyptic celebrity world of today, and Young, who grew up in New York — like Holden Caulfield if he wanted to be famous — is looking for adventure and action and becomes entangled in all sorts of romantic and sordid relationships. He points out the perplexing tragedy (and good fortune, I think) of what it means to be talented and rebellious, but not a celebrity.

Jesse believed stories were the collective memories of the world, recorded in books so that each of us could know who we were before we became who we are. He said that's why people love The Catcher in the Rye when they're teenagers, but fall out of love with it as adults. We're all Holden Caulfield at fifteen, but when we grow up we want to be Atticus Finch.

Non voglio spaventarti, ma non stento affatto a vederti morire nobilmente, in un modo o nell'altro, per una causa indicibilmente ignobile.

Catholics are always trying to find out if you’re Catholic.

He knew he was sounding a little Holden Caulfield-esque calling everyone a phony, but he really did think everyone was a phony.

I was basically the Holden Caulfield of adult dating.

Last year I made a rule that I was going to quit horsing around with girls that, deep down, gave me a pain in the ass. I broke it, though, the same week I made it - the same night, as a matter of fact.

Fictional Characters" Do they ever want to escape? Climb out of the white pages and enter our world? Holden Caulfield slipping in the movie theater to catch the two o'clock Anna Karenina sitting in a diner, reading the paper as the waitress serves up a cheeseburger. Even Hector, on break from the Iliad, takes a stroll through the park, admires the tulips. Maybe they grew tired of the author's mind, all its twists and turns. Or were finally weary of stumbling around Pamplona, a bottle in each fist, eating lotuses on the banks of the Nile. For others, it was just too hot in the small California town where they'd been written into a lifetime of plowing fields. Whatever the reason, here they are, roaming the city streets rain falling on their phantasmal shoulders. Wouldn't you, if you could? Step out of your own story, to lean against a doorway of the Five & Dime, sipping your coffee, your life, somewhere far behind you, all its heat and toil nothing but a tale resting in the hands of a stranger, the sidewalk ahead wet and glistening. "Fictional Characters" by Danusha Laméris from The Moons of August. © Autumn House Press, 2014. Reprinted with permission

If Kris could play enough of these, in the right order, without stopping, she could block out everything: the dirty snow that never melted, closets full of secondhand clothes, overheated classrooms at Independence High, mind-numbing lectures about the Continental Congress and ladylike behavior and the dangers of of running with the wrong crowd and what x equals and how to find for y and what the third person plural for cantar is and what Holden Caulfield's basement glove symbolizes and what the whale symbolizes and what the green light symbolizes and what everything in the world symbolizes, because apparently nothing is what it seems and everything is a trick.

Besides, I'm not going to tell you my whole autobiography or anything. I'll just tell you about this madman stuff that happened to me around last Christmas just before I got pretty run-down and had to come out here and take it easy.

Aaaand we have a winnerrrrr!" a man shouts into the mic in a singsong carnival voice as I lick the last of Patrick's ice cream from my fingers. "Pick out a prize for the beautiful girl." "For you," Patrick says, kneeling in front of me with a moose in his outstretched hands. I pull the stuffed animal to my chest. "Thank you. I shall love him always. I shall call him Holden Caulfield." "From the book?" "Yes, from the book. You were reading it when I saw you my first day here." "You remember that?" "It's one of my favorite books," I say. "You were totally checking me out." "Patrick! Not in front of Holden Caulfield!" I cover the moose's floppy ears with my hands, hoping neither he nor Patrick sees the red flooding my cheeks.

On je uvijek tražio od čovjeka da mu čini velike usluge. Uzmite takvog veoma lijepog mladića, ili nekog tko za sebe misli kako je u svemu glavni, i te stvari, takvi će ljudi od vas vječito tražiti da im činite velike usluge. Samo zbog toga što je takav čovjek lud za samim sobom, on misli kako ste i vi ludi za njim i kako umirete od želje da mu na svaki mogući način ugodite. To je pomalo smiješno, u jednu ruku.

Lots of talk lately about the GREAT AMERICAN NOVEL that seems to be exclusively masculine. And how many of the characters in the GENIUS BOOKS are likable? Is Holden Caulfield likable? Is Meursault in The Stranger? Is Henry Miller? Is any character in any of these system novels particularly likable? Aren’t they usually loathsome but human, etc., loathsome and neurotic and obsessed? In my memory, all the characters in Jonathan Franzen are total douchebags (I know, I know, I’m not supposed to use that, feminine imagery, whatever, but it is SO satisfying to say and think). How about female characters in the genius books? Was Madame Bovary likable? Was Anna Karenina? Is Daisy Buchanan likable? Is Daisy Miller? Is it the specific way in which supposed readers HATE unlikable female characters (who are too depressed, too crazy, too vain, too self-involved, too bored, too boring), that mirrors the specific way in which people HATE unlikable girls and women for the same qualities? We do not allow, really, the notion of the antiheroine, as penned by women, because we confuse the autobiographical, and we pass judgment on the female author for her terrible self-involved and indulgent life. We do not hate Scott Fitzgerald in “The Crack-Up” or Georges Bataille in Guilty for being drunken and totally wading in their own pathos, but Jean Rhys is too much of a victim.

Eso es lo malo. Que no hay forma de dar con un sitio bonito y tranquilo porque no existe. Puedes creer que existe, pero una vez que llegas allí, cuando no estás mirando, alguien se cuela y escribe «Que te jodan» delante de tus narices. Prueben y verán. Creo que si algún día me muero y me meten en un cementerio y me ponen encima una lápida que diga Holden Caulfield y el año en que nací y el año de mi muerte, debajo alguien escribirá «Que te jodan». De hecho estoy convencido.

That’s the whole trouble. You can’t ever find a place that’s nice and peaceful, because there isn’t any. You may think there is, but once you get there, when you’re not looking, somebody’ll sneak up and write “Fuck you” right under your nose. Try it sometime. I think, even, if I ever die, and they stick me in a cemetery, and I have a tombstone and all, it’ll say “Holden Caulfield” on it, and then what year I was born and what year I died, and then right under that it’ll say “Fuck you.” I’m positive, in fact.

[Ackley] took another look at my hat . . . “Up home we wear a hat like that to shoot deer in, for Chrissake,” he said. “That’s a deer shooting hat.” “Like hell it is.” I took it off and looked at it. I sort of closed one eye, like I was taking aim at it. “This is a people shooting hat,” I said. “I shoot people in this hat.

Amelia the bright-sider believes it is better to be alone than to be with someone who doesn't share your sensibilities and interests. (It is, right?) Her mother likes to say that novels have ruined Amelia for real men. This observation insults Amelia because it implies that she only reads books with classically romantic heroes. She does not mind the occasional novel with a romantic hero but her reading tastes are far more varied that that. Furthermore, she adores Humbert Humbert as a character while accepting that she wouldn't really want him for a life partner, a boyfriend, or even a casual acquaintance. She feels that same way about Holden Caulfield, and Misters Rochester and Darcy.

That’s the irony of escaping urban elitism: the consistent mediocrity of the suburbs will make you into more of an elitist. You start to look down on the people around you for having the bad taste to live there, even though they are exactly like you. So you have to decide that you’re better than they are in order to avoid hating yourself. But you still hate yourself. You hated what the Nespresso owners at the private school reflected back at you, but you also hate what the woman buying the two-pound bag of shredded Mexican cheese reflects back at you. You’re Holden Caulfield now. You’re inferior and superior, like an immature prep school kid, like a self-hating hipster, like a sad suburban newbie on Nextdoor, decrying the dearth of quality pho in the neighborhood.

What I have to do, I have to catch everybody if they start to go over the cliff- I mean if they're running and they don't look where they're going I have to come out from somewhere and catch them. That's all I'd do all day. I'd just be the catcher in the rye and all. I know it's crazy, but that's the only thing I'd really like to be. I know it's crazy." = Stop People From Becoming Phony

I was the only one left in the tomb then. I sort of liked it, in a way. It was so nice and peaceful. Then, all of a sudden, you’d never guess what I saw on the wall. Another “Fuck you.” It was written with a red crayon or something, right under the glass part of the wall, under the stones. That’s the whole trouble. You can’t ever find a place that’s nice and peaceful, because there isn’t any. You may think there is, but once you get there, when you’re not looking, somebody’ll sneak up and write “Fuck you” right under your nose. Try it sometime. I think, even, if I ever die, and they stick me in a cemetery, and I have a tombstone and all, it’ll say “Holden Caulfield” on it, and then what year I was born and what year I died, and then right under that it’ll say “Fuck you.” I’m positive, in fact.

I was the only one left in the tomb then. I sort of liked it, in a way. It was so nice and peaceful. Then, all of a sudden, you'd never guess what I saw on the wall. Another "Fuck you." It was written with a red crayon or something, right under the glass part of the wall, under the stones. That's the whole trouble. You can't ever find a place that's nice and peaceful, because there isn't any. You may think there is, but once you get there, when you're not looking, somebody'll sneak up and write "Fuck you" right under your nose. Try it sometime. I think, even, if I ever die, and they stick me in a cemetery, and I have a tombstone and all, it'll say "Holden Caulfield" on it, and then what year I was born and what year I died, and then right under that it'll say "Fuck you." I'm positive, in fact.

There are videos and books in her room to entertain her, but Miracolina has to laugh, because just as the harvest camp van had only happy, family-friendly movies, the titles she has to choose from here have a clear agenda as well. They’re all about kids being mistreated, but rising above it, or kids empowering themselves in a world that doesn’t understand them. Everything from Dickens to Salinger—as if Miracolina Roselli could possibly have anything in common with Holden Caulfield. ... Finally a bald middle-aged man comes in with a clipboard and a name tag that just says BOB. “I used to be a respected psychiatrist until I spoke out against unwinding,” Bob tells her after the obligatory introductions. “Being ostracized was a blessing in disguise, though, because it allowed me to come here, where I’m truly needed.” Miracolina keeps her arms folded, giving him nothing. She knows what this is all about. They call it “deprogramming,” which is a polite term for undoing brainwashing with more brainwashing.

Ce se întîmplă cu tine, băiete? mă întrebă. Vorbea destul de aspru pentru felul lui de a fi. Cîte materii ai urmat în trimestrul ăsta? ― Cinci, domnule profesor. ― Cinci? Şi la cîte ai căzut? ― La patru. Îmi amorţise fundul stînd pe pat. În viaţa mea nu stătusem pe un pat atît de tare. ― La engleză am trecut, i-am spus, fiindcă poveştile cu Beowulf şi cu Lord Randal, fiul meu le-am învăţat încă de pe vremea cînd eram la Whooton. Şi, de fapt, la engleză nu trebuia să fac mai nimic, decît să scriu din cînd în cînd cîte o compunere. Bătrînul nici nu mă asculta. N-asculta niciodată cînd îi vorbeai. ― Eu unul te-am trîntit la istorie fiindcă n-ai ştiut absolut nimic. ― Ştiu, domnule profesor, vă înţeleg. Ce era să faceţi? ― Absolut nimic, repetă el. Tare mă înfurie cînd oamenii repetă de două ori un lucru pe care tu l-ai recunoscut de prima dată. Şi pe urmă a mai spus-o şi a treia oară. ― Dar absolut nimic. Ai deschis cartea măcar o dată, în trimestrul ăsta? Eu mă îndoiesc. Spune drept! ― Păi, ştiţi, am răsfoit-o... de vreo două ori, am spus. Nu voiam să-l jignesc. Îi plăcea istoria la nebunie! ― A, ai răsfoit-o! spuse el foarte ironic. Uite, hm, teza ta e acolo sus pe raft, deasupra teancului de caiete. Ad-o, te rog, încoace. Era o figură urîtă din partea lui. Dar n-am avut încotro, m-am dus şi i-am adus-o. Pe urmă, m-am aşezat din nou pe patul lui de ciment. Mamă, nici nu ştiţi ce rău începuse să-mi pară că venisem să-mi iau rămas bun. Ţinea lucrarea mea de parc-ar fi fost o bucată de rahat sau mai ştiu eu ce. ― Am studiat cu voi egiptenii de la 4 noiembrie la 2 de¬cembrie, îmi zise. Singur ai ales să scrii despre ei la lucrarea facultativă de control. Vrei să auzi ce-ai scris? ― Nu, domnule profesor, nu face, i-am răspuns. Cu toate astea, începu să citească. Nu poţi opri niciodată un profesor să facă un anumit lucru, dacă s-a hotărît să-l facă. Oricum, face tot ce vrea el! Egiptenii sînt o rasă veche de caucazieni care locuiesc într-una din regiunile din nordul Africii. Africa, după cum ştim cu toţii, e cel mai mare continent în emisfera răsăriteană. Şi eu eram obligat să stau şi s-ascult toate tîmpeniile astea! Zău că era urît din partea lui. Pe noi, astăzi, egiptenii ne interesează din mai multe motive. Ştiinţa modernă n-a descoperit nici pînă azi ce substanţe misterioase întrebuinţau cînd îmbălsămau morţii, pentru ca feţele lor să nu putrezească secole la rînd. Această enigmă interesantă continuă să constituie o sfidare pentru ştiinţa modernă a secolului XX. Se opri şi puse jos lucrarea. Începusem să-l urăsc! ― Eseul tău, ca să-i zicem aşa, se opreşte aici, spuse cît se poate de ironic. N-ai crede că un tip atît de bătrîn poate fi atît de ironic şi aşa mai departe. Apoi adăugă: Şi în josul paginii mi-ai scris şi mie cîteva cuvinte. ― Ştiu, ştiu, i-am răspuns precipitat, ca să-l opresc înainte de a-ncepe să citească. Dar parcă mai putea cineva să-l oprească?! Ardea ca un fitil de dinamită. Dragă domnule Spencer (citi el cu glas tare), asta e tot ce ştiu eu despre egipteni. Nu reuşesc să mă intereseze, cu toate că dumneavoastră predaţi foarte frumos. Să ştiţi totuşi că nu mă supăr dacă mă trîntiţi ― că în afară de engleză tot am picat la toate materiile. Cu stimă, al dumnea¬voastră, Holden Caulfield. În sfîrşit, a pus jos lucrarea mea nenorocită şi mi-a arun¬cat o privire de parcă m-ar fi bătut măr la ping-pong sau mai ştiu eu ce. Cît oi trăi nu cred c-am să-l iert c-a citit cu glas tare toate rahaturile alea. Dacă le-ar fi scris el, eu unul nu i le-aş fi citit niciodată. Zău că nu. Şi, de fapt, nu-i scrisesem notiţa aia nenorocită decît ca să nu-i pară prea rău că mă trînteşte. ― Mă condamni că te-am trîntit, băiete? m-a întrebat el. ― Nu, domnule profesor, zău că nu! i-am răspuns eu. Numai de-ar fi încetat naibii să-mi mai zică "băiete"!

God was now speaking to me, telling me to keep the faith and promising me an escape. He spoke not through scripture nor through the retelling of parables by a priest, but through angsty, tormented Holden Caulfield, and all the other voices in the books I had read. At the turn of every page I breathed in, felt my heart tighten and release, and said, as the nuns next door repeatedly sang, “Amen.

In April 2012, The New York Times published a heart-wrenching essay by Claire Needell Hollander, a middle school English teacher in the New York City public schools. Under the headline “Teach the Books, Touch the Heart,” she began with an anecdote about teaching John Steinbeck’s Of Mice and Men. As her class read the end together out loud in class, her “toughest boy,” she wrote, “wept a little, and so did I.” A girl in the class edged out of her chair to get a closer look and asked Hollander if she was crying. “I am,” she said, “and the funny thing is I’ve read it many times.” Hollander, a reading enrichment teacher, shaped her lessons around robust literature—her classes met in small groups and talked informally about what they had read. Her students did not “read from the expected perspective,” as she described it. They concluded (not unreasonably) that Holden Caulfield “was a punk, unfairly dismissive of parents who had given him every advantage.” One student read Lady Macbeth’s soliloquies as raps. Another, having been inspired by Of Mice and Men, went on to read The Grapes of Wrath on his own and told Hollander how amazed he was that “all these people hate each other, and they’re all white.” She knew that these classes were enhancing her students’ reading levels, their understanding of the world, their souls. But she had to stop offering them to all but her highest-achieving eighth-graders. Everyone else had to take instruction specifically targeted to boost their standardized test scores. Hollander felt she had no choice. Reading scores on standardized tests in her school had gone up in the years she maintained her reading group, but not consistently enough. “Until recently, given the students’ enthusiasm for the reading groups, I was able to play down that data,” she wrote. “But last year, for the first time since I can remember, our test scores declined in relation to comparable schools in the city. Because I play a leadership role in the English department, I felt increased pressure to bring this year’s scores up. All the teachers are increasing their number of test-preparation sessions and practice tests, so I have done the same, cutting two of my three classic book groups and replacing them with a test preparation tutorial program.” Instead of Steinbeck and Shakespeare, her students read “watered-down news articles or biographies, bastardized novels, memos or brochures.” They studied vocabulary words, drilled on how to write sentences, and practiced taking multiple-choice tests. The overall impact of such instruction, Hollander said, is to “bleed our English classes dry.” So

The Rebel’s bad attitude is a form of protection Take a look at J.D. Salinger’s The Catcher in the Rye. Holden Caulfield has just been expelled from his prep school for academic failure. Bright and sensitive, he narrates his story in a cynical, jaded voice. Holden longs for a beautiful and innocent world. He cannot bear the hypocrisy of the those around him; his attitude is an attempt to protect himself from pain and disappointment.

You used to look out the window of your daddy's truck riding to the Towne House and imagine that somewhere from one of these tract houses amid the razor grass and the industrial-maze skyline of contorted steel, a boy riding to the dance might also be pretending that he was being ferried over snowy hills in a Russian sledge. Or perhaps in another truck cab, a girl your age was rethumbing Catcher in the Rye and half believing that in the Towne House Holden Caulfield would be waiting under the exit sign in all his wounded, cynical splendor. And that very evening conversation would be struck like a flint, and endless isolate dark illuminated. But how would such a person find you unless you hung it all out there?

What's real and what's not? People we meet in books--Holden Caulfield, Captain Ahab, Huckleberry Finn, Harry Potter, Bilbo and Gandalf and Frodo-- can become more memorable, and more important to us than people with birth certificates and drivers' licenses. Characters spawned in an author's imagination find a home inside us. They make our lives richer. They become our best friends. They never disappoint. And they never die.

Holden Caulfield people are the bane of my existence.

The sky is turning from black to gray and I stop to remember this melancholy moment for my acting. I huddle on a bench in my big thrift-store overcoat and my painful hair, watching my breath make clouds and thinking Holden Caulfield-y thoughts, like how come you never see any baby pigeons? This is what those people on black-and-white French postcards must feel like. I find myself craving a cup of coffee and a cigarette despite the fact that I neither drink coffee nor smoke.

People always ruin things for you.

The teenager as a kind of cultural phenomenon took off in the post–World War II era—from teenyboppers and bobby-soxers to James Dean in Rebel Without a Cause and Holden Caulfield in The Catcher in the Rye.

the heart of the novel. Holden in New York where he has something close to a nervous breakdown. Caulfield narrates the story to us

Historians, to be sure, have subsequently dug about in the byways of American culture and exposed signs of rebellion and dissatisfation with the conservative values of the early Eisenhower years. Some young people, mostly in university circles, identified with Holden Caulfield, the restless anti-hero of J. D. Salinger's novel The Catcher in the Rye (1951). Mad magazine, a zany and highly irreverent publication, began its commercially very successful career (it was number two in circulation behind Life by the early 1960s) in 1952.53

Fuck you

Since it was Thanksgiving, the in-flight meal was turkey, stuffing, and cranberry sauce. Since we were bound for Japan, there was also raw tuna, miso soup, and hot sake. I ate it all, while reading the paperbacks I’d stuffed into my backpack. The Catcher in the Rye and Naked Lunch. I identified with Holden Caulfield, the teenage introvert seeking his place in the world, but Burroughs went right over my head. The junk merchant doesn’t sell his product to the consumer, he sells the consumer to his product. Too

I’m standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff—I mean if they’re running and they don’t look where they’re going I have to come out from somewhere and catch them. That’s all I’d do all day. I’d just be the catcher in the rye and all

No me importa que sea una despedida triste o que sea una despedida desagradable, pero cuando me voy de un sitio me gusta saber que me voy. Si no, te da más pena todavía.

La gente nunca se da cuenta de nada.

«Encantadores». Me revienta esa palabra. Es de lo más falsa. Me dan ganas de vomitar cada vez que la oigo.

Eso sí que me saca de quicio. Que alguien te diga una cosa dos veces cuando tú ya lo has reconocido a la primera.

Espero que no haya gritado «¡Buena suerte!». Espero que no, Dios quiera que no. Yo nunca le gritaría a nadie «¡Buena suerte!». Si lo piensas bien, suena horrible.

Los que de verdad me vuelven loco son esos libros que cuando acabas de leerlos piensas que ojalá el autor fuese amigo tuyo y pudieras llamarle por teléfono cuando quisieras. Pero eso no pasa mucho.

Era un guapo de esos que si tus padres veían en su foto en el anuario del colegio, enseguida decían «¿Quién es ese chico?». Quiero decir que era sobre todo un guapo de anuario.

Otra cosa que me da cien patadas. Quiero decir, que se te dé bien escribir redacciones y que alguien se ponga a hablar de comas.

Yo lo único que necesito es público. Soy un exhibicionista".

Ese tipo de cosas no le interesan a casi nadie.

La gente nunca te cree".

Ese es el problema que tenéis los cretinos. Que nunca queréis hablar de nada. Por eso se reconoce a un cretino enseguida. Nunca quieren hablar de nada inteligente.

Aún era bastante temprano. No estoy seguro de qué hora sería, pero no era demasiado tarde. Si hay algo que me revienta es irme a la cama cuando ni siquiera estoy cansado.

Nunca llegué a saber qué demonios pasaba. Con algunas chicas casi nunca llegas a saber lo que pasa.

Ni siquiera querría que me aplaudiesen. La gente siempre aplaude cuando no debe. Si yo fuera pianista, tocaría dentro de un puñetero armario.

Malditas películas. Son capaces de destrozarte la vida. En serio".

Tenía ganas de tirarme por la ventana. Y creo que lo habría hecho si hubiera estado seguro de que alguien taparía mi cadáver tan pronto como aterrizara. No quería que un montón de estúpidos mirones me miraran mientras estaba todo ensangrentado.

Ciertas cosas deberían seguir siendo como son. Deberías poder meterlas en una de esas vitrinas de cristal y dejarlas en paz. Sé que es imposible, pero de todos modos es una pena.

Después me imaginé a toda la panda dejándome en un maldito cementerio con mi nombre escrito en una lápida y todo eso. Rodeado de tíos muertos. Jo, buena te la hacen cuando te mueres. Espero que cuando me muera alguien tenga sentido común suficiente como para tirarme al río o algo así. Cualquier cosa menos meterme en un maldito cementerio. Eso de que venga la gente los domingos a ponerme ramos de flores en el estómago y todo ese rollo. ¿Quién quiere flores cuando ya se ha muerto? Nadie.

Ya sé que está muerto. ¿Crees que no lo sé? Pero aún así puede gustarme, ¿no? Porque alguien que se ha muerto no tiene por qué dejar de gustarte, por el amor de Dios. Sobre todo si era mil veces mejor que las personas que conoces y que están vivas y eso.

Aunque se dedicara uno a eso un millón de años, nunca podría borrar ni la mitad de todos los «Que te jodan» del mundo. Es imposible.