The Catcher in the Rye

Pdf fan dd71f526917d6085d66d045bd94fb5b55d02a108dd45d836cbdd4abe2d4c043d Tap here to download this LitChart! (PDF)

Alienation and Meltdown Theme Analysis

Themes and Colors
Phoniness Theme Icon
Alienation and Meltdown Theme Icon
Women and Sex Theme Icon
Childhood and Growing Up Theme Icon
Madness, Depression, Suicide Theme Icon
LitCharts assigns a color and icon to each theme in The Catcher in the Rye, which you can use to track the themes throughout the work.
Alienation and Meltdown Theme Icon

From the very first scene of Catcher in the Rye, when Holden decides not to attend the football game that the rest of his school is attending, it is clear that Holden doesn't fit in. What makes The Catcher in the Rye unique, however, is not the fact that Holden is an alienated teenager, but its extremely accurate and nuanced portrayal of the causes, benefits, and costs of his isolation.

In short, alienation both protects and harms Holden. It protects him by ensuring that he will not ever have to form connections with other people that might wind up causing awkwardness, rejection, or the sort of intense emotional pain he felt when Allie died. Just as Holden wears his hunting cap as a sign of independence, separation, and protection from the world, he creates his own alienation for the same purpose. The problem, though, is that Holden is human. He may wish that he didn't need human contact, but he does. So while his alienation protects him, it also severely harms him, making him intensely lonely and depressed. He therefore reaches out, to Mr. Spencer, or Carl Luce, or Sally, but then his fear of human interaction reasserts itself and he does his best to insult or make the very people he wants to connect with angry at him. Holden has gotten himself caught in a cycle of self-destruction: his fear of human contact leads to alienation, which leads to loneliness, which causes him to reach out to another person, which excites his fear of human contact and leads to a terrible experience that convinces him that people are no good, which leads to alienation… and so on.

Alienation and Meltdown ThemeTracker

The ThemeTracker below shows where, and to what degree, the theme of Alienation and Meltdown appears in each chapter of The Catcher in the Rye. Click or tap on any chapter to read its Summary & Analysis.
How often theme appears:
Chapter length:
Get the entire The Catcher in the Rye LitChart as a printable PDF.
The catcher in the rye.pdf.medium

Alienation and Meltdown Quotes in The Catcher in the Rye

Below you will find the important quotes in The Catcher in the Rye related to the theme of Alienation and Meltdown.
Chapter 2 Quotes
"Life is a game, boy. Life is a game that one plays according to the rules."
"Yes, sir. I know it is. I know it."
Game, my ass. Some game. If you get on the side where all the hot-shots are, then it's a game, all right—I'll admit that. But if you get on the other side, where there aren't any hot-shots, then what's a game about it? Nothing. No game.
Related Characters: Holden Caulfield (speaker)
Page Number: 12-13
Explanation and Analysis:

When Mr. Spencer advises Holden to see his life as a game, Holden pretends to affirm the sentiment. But in reality, he believes this worldview is only helpful to those who already hold positions of relative advantage.

The disconnect between Holden’s external speech and his interior monologue marks his distance from adult society. His spoken language is polite and submissive, using the term “sir” and repeating with subservience “I know it is. I know it,” as if he does not have any additional independent thoughts. Yet when the text moves into his mind, we see a very different tone: one that immediately swears—“my ass”—and then goes on to invalidate his previous comment.

Holden’s specific contention with Mr. Spencer’s point is worth considering: he finds the thoughts of empowered adults irrelevant because their advice only applies to those within parallel positions of power—the ones “on the side where all the hot-shots are.” That is to say, the metaphor of the "game" implies a mindset that presumes one can actually dictate the rules. Holden does not simply say that he is disadvantaged in the game, however, but rather denies the entire metaphorical system. With the use of interior monologue, he rejects the worldview hoisted on him by others and sets the stakes of his own game.

A+

Unlock explanations and citation info for this and every other The Catcher in the Rye quote.

Plus so much more...

Get LitCharts A+
Already a LitCharts A+ member? Sign in!
Chapter 3 Quotes
[Ackley] took another look at my hat while he was cleaning them. "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."
Related Characters: Holden Caulfield (speaker), Robert Ackley (speaker)
Related Symbols: Holden's Red Hunting Hat
Page Number: 30
Explanation and Analysis:

As Holden sits in his room reading, his neighbor Ackley arrives and teases him for wearing the hunting hat. In response, Holden adopts an aggressive and morbid personality.

Holden’s red hat plays an important symbolic role throughout the text—as an image of both independence and of ridicule. Here, it is primarily the second, for Ackley claims Holden is out of place for wearing a hunting hat in the dorm room. This disconnect stresses how Holden refuses to conform to the structured setting of his school: his clothing belongs in a freer, more rural setting. When anti-conformism makes him an object of derision for Ackley, Holden becomes oddly morbid: that the hat becomes “a people shooting hat” might be a mere jest, but when Holden reiterates, “I shoot people in this hat” the tone grows more serious. Lighthearted as the scene might appear, it also carries a dark humor that Holden would be willing to harm other humans—treating them as flippantly as he would a deer. The hat thus symbolizes Holden’s misanthropic status both due to its physical appearance and to the way he turns it into a sardonic threat.

Chapter 5 Quotes
My brother Allie had this left-handed fielder's mitt. He was left-handed. The thing that was descriptive about it, though, was that he had poems written all over the fingers and the pocket and everywhere. In green ink.
Related Characters: Holden Caulfield (speaker), Allie Caulfield
Page Number: 49
Explanation and Analysis:

Holden decides to write the essay for Stradlater about his own brother Allie. He begins the description with this endearing comment on how Allie covered his baseball mitt in poetry.

Salinger presents this passage as an interior, self-correcting monologue inside Holden’s head: After he makes the first comment on the “left-handed fielder’s mitt,” Holden is careful to clarify that this was a pragmatic necessity for his brother because “He was left-handed.” Similarly, he goes on to specify that the left-handedness is not the pertinent feature of the mitt: What is “descriptive”—as the essay is reportedly supposed to be—is how it is covered with poetry. Adding the detail “In green ink” then reinforces the sense that the text is Holden’s process of thinking-through the essay he will write. It is as if he imagines an audience in his head receiving the monologue being transcribed by Salinger.

Beyond making use of unusual stylistic elements, this passage marks the first more humanizing presentation of Holden’s character. Whereas before he has seemed entirely misanthropic, here he shows earnest interest in Allie, and an idealization of his lost younger brother. Thus Holden does not seem to be merely distant from his family, but rather remains at least partially connected to them through this memory. Furthermore, his interest in the “poems” on Allie’s mitt reveals Holden’s attraction to certain forms of art. He does not, in fact, find everything to be phony.

I was only thirteen, and they were going to have me psychoanalyzed and all, because I broke all the windows in the garage. I don't blame them. I really don't. I slept in the garage the night he died, and I broke all the goddam windows with my fist, just for the hell of it... It was a very stupid thing to do, I'll admit, but I hardly didn't even know I was doing it, and you didn't know Allie.
Related Characters: Holden Caulfield (speaker), Allie Caulfield
Page Number: 50
Explanation and Analysis:

Holden describes his aggressive reaction to Allie’s death. He notes that his behavior was irrational, but also defends himself based on the unique connection he had with Allie.

This interplay of reason and unreason is mediated by Holden’s parents’ response to his actions. That they wanted to have him “psychoanalyzed” after his aggressive behavior would strike the reader as entirely rational given their position—and Holden affirms this sympathetic interpretation when he says “I don’t blame them. I really don’t.” He then offers evidence of how this choice would be reasonable by reiterating how ludicrous his behaviors would have seemed. In particular that he acts “just for the hell of it…” highlights his own awareness of the lack of rational motivation.

A turn comes, however, when Holden says “I hardly didn’t even know I was doing it,” indicating that he should be absolved from the guilt of the mania because he was not conscious of his actions. The next defense “you didn’t know Allie” is of a rather different nature, for it relies not just on ignorance but implies that the aggressive response was actually reasonable considering the importance of his brother. Beyond continuing to humanize Holden—and implying that his current psychic issues are the result of a lost brother—this passage showcases Holden’s fraught relationship to his own conduct. Salinger illustrates how one may defend rash actions even as they accept how others would see them as inappropriate.

Chapter 7 Quotes
When I was all set to go, when I had my bags and all, I stood for a while next to the stairs and took a last look down the goddam corridor. I was sort of crying. I don't know why. I put my red hunting hat on, and turned the peak around to the back, the way I liked it, and then I yelled at the top of my goddam voice, "Sleep tight, ya morons!" I'll bet I woke up every bastard on the whole floor. Then I got the hell out.
Related Characters: Holden Caulfield (speaker)
Related Symbols: Holden's Red Hunting Hat
Page Number: 68
Explanation and Analysis:

Holden decides to depart Pencey and leave for New York City. As he leaves, he experiences a round of intense emotions, followed by an aggressive renunciation of all those who remain.

Salinger makes this passage a parody of departure narratives: The packing of bags, the moment of reflection, and the crying are all aspects of classic departures. Yet when Holden does not know why he is crying, he subtly denies that his emotional responses are due to this normal emotional arc. Perhaps he does feel some sadness at leaving a comfortable environment, but the emotion seems to stem more from his disillusionment and frustration with this supposedly phony society.

Holden more assertively renounces that society through his use of the red hunting hat: He wears it as a form of self-affirmation, as an indication that he is hunting humans, and as a reminder that he can behave “the way I liked.” That renunciation of normal social codes comes to a climax when he yells into the hallway—parodying the farewell phrase of “sleep tight” by actually rudely awakening everyone. In this moment, Holden shows himself not just to be mentally distant from and critical of those around him, but also willing to openly renounce and mock those he deems phony.

Chapter 9 Quotes
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?
Related Characters: Holden Caulfield (speaker)
Related Symbols: The Ducks in the Lagoon in Central Park
Page Number: 78
Explanation and Analysis:

Holden asks his cab driver about the Central Park ducks. Though the question is earnest, the driver does not take him seriously.

On the surface, Holden’s question seems ridiculous, or even sarcastic, thus showing that his occasional earnest statements are rebuffed by a society that expects social acts to be relatively artificial. Here, we get a sense of why Holden sees others as phony—for they demand such a practiced and coded type of social interaction that they do not have direct and meaningful conversations. The inability of a cab driver to answer this straightforward question speaks to such a disconnect.

More specifically, the ducks are a symbol for a helpless animal that has been abandoned in the middle of winter. That Holden wonders about their winter lodgings demonstrates his attention to beings that have been abandoned—and implies that he he has a similar worry for himself. In a sense, Holden is just like the ducks: uncertain of where to go now that he has entered a harsh adult world.

Chapter 13 Quotes
The trouble was, I just didn't want to do it. I felt more depressed than sexy, if you want to know the truth. She was depressing. Her green dress hanging in the closet and all. And besides, I don't think I could ever do it with somebody that sits in a stupid movie all day long. I really don't think I could.
Related Characters: Holden Caulfield (speaker), Sunny
Page Number: 123
Explanation and Analysis:

When the prostitute Sunny comes to Holden’s room, his fear develops into depression and paralysis. Holden declines to have sex and explains, here, that the refusal comes from how sad he found the scene.

The moment clarifies the occasions Holden referred to earlier when he could have lost his virginity. It shows that in such instances, he becomes distraught by the depressing circumstances of the interaction. Sexual interest alone is insufficient to make him pursue sex, and Holden thus seems to want to search for something meaningful. One should note, however, that Holden’s response is not based on any kind of ethical principle. (He would likely find such moralizing to be “phony.”) Rather it is based on an immediate emotional response—as well as on the appearance of the scene in which he finds himself. Holden, above all, is disheartened by the physical detail of the “green dress,” and his reference to the “stupid movie” indicates that he is filtering his experience through a cinematic lens. That is to say, Holden seems to be watching the movie of his life, as well as the movie of Sunny’s life, play out—and he becomes “depressed” when he understands the nature of this hypothetical film.

The reference to the movies also implies that Holden's earlier criticism of "phony" movies and the people who enjoy them extends even to his instincts. This also suggests that Holden truly does want something meaningful from sex, since he feels he couldn't do it with just anyone, particularly someone he doesn't respect.

Chapter 14 Quotes
It took me quite a while to get to sleep—I wasn't even tired—but finally I did. 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.
Related Characters: Holden Caulfield (speaker)
Page Number: 136
Explanation and Analysis:

After Sunny takes his money and Maurice punches him in the stomach, Holden tries to fall asleep. He considers suicide, but decides against it because of an imagined social response.

This passage shows Holden at the depths of his despair. Whereas his earlier comments have certainly conveyed depression and angst, contemplating suicide marks a significant shift toward the worse. He does not even try to hide the fact, explicitly using the term “committing suicide” and only then using the more euphemistic phrase “jumping out the window.” As with the prostitute, what stops Holden from acting is not an ethical belief—nor a rational consideration—but rather an issue with the cinematic quality of what would take place. Here, what he finds depressing is the way others would look at him “all gory.” This image reiterates the way Holden tends to see his life as a movie playing out before him, in which his actions are made largely based on whether he would be pleased or disheartened by the quality of the movie. Suicide is only ruled out because the resulting scene for the “stupid rubbernecks” would not fit with his aesthetic wishes.

Chapter 16 Quotes
She was a very nice, polite little kid. God, I love it when a kid's nice and polite when you tighten their skate for them or something. Most kids are. They really are. I asked her if she'd care to have a hot chocolate or something with me, but she said no, thank you. She said she had to meet her friend. Kids always have to meet their friend. That kills me.
Related Characters: Holden Caulfield (speaker)
Page Number: 155
Explanation and Analysis:

Holden asks a girl about Phoebe and, as they part ways, he gives this odd, nostalgic reflection on childhood. He adopts an adult perspective again, observing the actions of kids as pure and admirable.

Earlier, Holden’s critical eye has been primarily oriented toward adult society. By presenting himself as an outsider toward more mature social interactions, Holden maintained his status as an adolescent and marked himself as relatively young. Yet here he adopts the perspective of an adult who gazes from a distance on the behaviors of the young. His repeated invocation of “kid,” particularly in the generalized plural “kids” implies that Holden considers himself outside of this group. Indeed, his ability to make general statements on how “most kids are” implies that he has gathered enough data on their behaviors to make an objective and universal statement.

Holden’s reflection speaks to the earnestness he finds valuable in childhood. When the girl says “she had to meet her friend,” she adopts adult language, which Holden finds quite comical: “That kills me.” Whereas he might find the same behavior artificial were it to come from a peer or an adult, Holden finds it to be entirely genuine coming from the girl. Salinger demonstrates Holden’s soft spot for younger children when he takes on this adult perspective—and clarifies that Holden may be trying to hold onto his own adolescence to preserve this innocent state.

Chapter 17 Quotes
"You ought to go to a boys' school sometime. Try it sometime," I said. "It's full of phonies, and all you do is study so that you can learn enough to be smart enough to be able to buy a goddam Cadillac some day, and you have to keep making believe you give a damn if the football team loses, and all you do is talk about girls and liquor and sex all day, and everybody sticks together in these dirty little goddam cliques."
Related Characters: Holden Caulfield (speaker), Sally Hayes
Page Number: 170
Explanation and Analysis:

As Holden and Sally talk about schools, Holden offers a condemnation of his academy, and attacks its artificial rituals and social behaviors.

It is difficult to know what to make of Holden’s comments here. On one hand, they might simply speak to his depressive nature, reaffirming how he finds everything in his world meaningless. On the other, one could identify a cultural critique in Holden’s words. Indeed, there is something artificial about the group-think style of living that places these high-achieving boys on a trajectory from “study” to “goddam Cadillac.” Holden is articulating, in immature language, a genuine criticism made by members of the counter culture. His focus on communal rituals—such as “the football team”—and empty discussions—“all you do is talk about girls and liquor and sex all day”—are similarly poignant. Indeed, many readers may empathize with the feeling that social rituals are meaningless and repetitive. Yet Holden is notably guilty of these very same behaviors: himself fixated on girls, liquor, and sex. Salinger thus gives us a character who offers genuine insights on social practices, but whose views also seem self-defeating and invalidated due to how carelessly they are applied.

Chapter 22 Quotes
"You don't like anything that's happening."
It made me even more depressed when she said that.
"Yes I do. Yes I do. Sure I do. Don't say that. Why the hell do you say that?"
"Because you don't. You don't like any schools. You don't like a million things. You don't."
"I do! That's where you're wrong—that's exactly where you're wrong! Why the hell do you have to say that?" I said. Boy, was she depressing me. "Because you don't," she said. "Name one thing."
"One thing? One thing I like?" I said. "Okay."
The trouble was, I couldn't concentrate too hot. Sometimes it's hard to concentrate.
Related Characters: Holden Caulfield (speaker), Phoebe Caulfield (speaker)
Page Number: 220
Explanation and Analysis:

When Holden complains about the other students at Pencey, Phoebe challenges him to name something he likes. She pokes fun at his misanthropic behavior, showing that Holden’s critical views are equally and unfairly applied to everything.

The brilliance of Phoebe’s comment, “You don’t like anything that’s happening” is that it points out the indiscriminate quality of Holden’s criticisms. If he does indeed find everything negative, then his specific contentions with each school and each thing cannot be taken seriously. This would render Holden a banal cynic, as opposed to a genuine outsider who can articulate compelling views. To defend his position, Holden finds himself ironically affirming that he enjoys some elements of life: yet his repeated insistences “Yes I do. Yes I do. Sure I do,” only repeat empty terms instead of actually providing an example. And when he is pushed to “name one thing,” he cannot come up with a single example.

We should note that Holden is at least partly sensitive to Phoebe’s criticisms. Were they to come from another character, Holden would likely find her points irrelevant or themselves phony, yet here he takes them quite seriously. Salinger stresses, then, Holden’s close relationship to his siblings and the way he will accept criticism from those whose opinion he values. Furthermore, Holden does not want to just be seen as a depressive who finds everything meaningless: he evidently maintains a wish to enjoy certain things and to defend that his criticisms of specific “phony” things are indeed valid.

Chapter 24 Quotes
This fall I think you're riding for — it's a special kind of fall, a horrible kind. The man falling isn't permitted to feel or hear himself hit bottom. He just keeps falling and falling. The whole arrangement's designed for men who, at some time or other in their lives, were looking for something their own environment couldn't supply them with. Or they thought their own environment couldn't supply them with. So they gave up looking.
Related Characters: Mr. Antolini (speaker), Holden Caulfield
Page Number: 243
Explanation and Analysis:

Holden visits his old English teacher, Mr. Antolini, who offers this compelling advice on his future. Mr. Antolini claims that Holden is following a well-trod narrative in which he expects too much from the world and will thus end up inevitably disappointed.

Mr. Antolini’s story, here, is more compelling for Holden than the comments he has received from other adults—for instead of offering stock phrases, Mr. Antolini closely examines Holden’s position and gives a specific diagnosis of his problem: “a special kind of fall.” Holden’s fall, he contends, is notable because it is infinite. Whereas a normal fall, say a specific negative experience, has a painful endpoint and impact of pain, Holden’s fall is permanent because it stems from the mental state he applies to every experience.

This mental state is the result of “looking for something their own environment couldn’t supply them with”—that is to say setting unreasonably high expectations for people and for experiences that consistently disappoint. Alternatively, it may be the result of presuming this fact to be the case, as if the environment may indeed be able to provide the wished-for experience. In either case, these permanently-falling men nihilistically abandon the entire quest for happiness and meaning because of the mismatch between expectation and reality. Salinger thus universalizes Holden’s experience and contends that one must continue to find meaning in the world even if it does not satisfy all of one’s desires.

Among other things, you'll find that you're not the first person who was ever confused and frightened and even sickened by human behavior. You're by no means alone on that score... Many, many men have been just as troubled morally and spiritually as you are right now. Happily, some of them kept records of their troubles. You'll learn from them—if you want to.
Related Characters: Mr. Antolini (speaker), Holden Caulfield
Page Number: 246
Explanation and Analysis:

Mr. Antolini continues to offer Holden advice on his "outsider" mindset. He notes that the experience has been had by many before and that Holden can take solace in their written reflections.

By fitting Holden’s life into a common narrative, Mr. Antolini both validates Holden's frustrations and shows how they are not as unique as he might consider them to be. He thus negates any claim Holden may have to exceptionalism, for he is “not the first person” to have gone through this story. By placing the terms “confused and frightened and even sickened by human behavior” in a single sentence, Mr. Antolini implies that Holden’s critical mindset of being “sickened” may, in fact, be the result of the first two qualities: His perceptions are not so much objective interpretations of humanity as they are the results of his own sense of being lost. Adding “many, many men have been just as troubled morally and spiritually,” Mr. Antolini reiterates that even the most abstract worries of Holden are nothing novel.

Though this response might seem to deny the meaning of Holden’s mindset, Mr. Antolini actually interprets this commonality as a sign of hope. Saying, “some of them kept records of their troubles,” he speaks to the wide canon of memoir and fiction that discuss one’s anxiety about and alienation from society. (Indeed, this is one of the more prevalent motivators and subjects of art!) Since others have been moved to engage with these issues, Holden can “learn from them” and thus find solace and advice on how to confront these anxieties. Salinger offers a subtle wink at the reader, here, for this novel is itself one of those “records.” He implies that it may serve a similar source of learning for readers experiencing their own moral and social troubles—and indeed, Catcher in the Rye has become a classic precisely because of this.

Chapter 25 Quotes
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... I think, even, if I ever die, and they stick me in a cemetery, and I have 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.
Related Characters: Holden Caulfield (speaker)
Page Number: 264
Explanation and Analysis:

After seeing a second inscription of “Fuck You,” Holden despairs about the lack of security and innocence in the world. He morbidly remarks that his own tombstone with be marked by a similar statement.

Holden’s yearning from “a place that’s nice and peaceful” speaks to his childhood nostalgia and to his wish to be caught by a metaphorical catcher in the rye. He is distraught at the way “Fuck you” violates sacred spaces for Phoebe and for the other children—because the language will corrupt them just as Holden himself as been corrupted. His next comment intriguingly flashes forward from this violation of childhood to a violation of death: the idea that profanity would be scrawled on his tomb.

This image corroborates the presentation of Holden as an exceedingly morbid character with a sardonic sense of humor. But it also implies an anxiety that this humor will permanently mark his tombstone and thus epitomize his life. Holden seems terrified by the idea that he will be remembered as a nihilistic corrupter, and we should remember that similar fears have stopped him from committing suicide before. Thus the profane language both verifies how Holden grants a sanctified place to childhood and reveals his fear that he will be misremembered as just a profane cynic.