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A Facebook friend left a challenge for her followers: 

“In a text post, list 10 books that have stayed with you in some way. Don’t take but a few minutes, and don’t think too hard — they don’t have to be the “right” or “great” works, just the ones that have touched you. Tag ten friends, including me, so I’ll see your list.”

bookshelves

Of the 20 books on my top 10 list, none of them comes from my high school years. This is hardly surprising; adolescence is a time apart from the normal flow of life — actually years of pupation between childhood and adulthood, spent in a chrysalis of self-regard, dread and hero worship.

That doesn’t mean books weren’t important. Indeed, they may have been most important in those years, but it does mean that the books that were important then have faded. Indeed, have become more likely a source of personal embarrassment as we remember them. selby cover

For me, those years were filled with almost obsessive reading. I ate up books like potato chips, at times during summer vacations at the rate of a book-a-day. And I devoured more contemporary fiction than I have at any other period in my life. I read everything Saul Bellow had written up to that time. I read John Updike, Malcolm Purdy, Hubert Selby Jr., Thomas Pynchon, Jules Feiffer, James Drought, Herbert Roth, James Baldwin, Norman Mailer and a host of others I cannot recall at the moment.

The fact I don’t recall them is germane. I hardly remember what was in any of these books because, clearly, I was reading way over my head. What could a goyishe 14-year-old suburban boy, pimply-faced and horny, ever understand about urban Jewish angst or African-American anger? Simply beyond my realm of experience. More to my concern: whether my shoes were pointy enough, my hair wavy enough and if my trousers had cuffs or not. I forget now whether it was cool to have cuffs or supremely uncool. OLYMPUS DIGITAL CAMERAI tried to instruct my parents in these finely parsed issues, but they were too block-headed to understand.

And speaking of not understanding: My young libido, raging but unfocused, led me to Terry Southern’s Candy and Robert Gover’s One Hundred Dollar Misunderstanding. It was my primary source of sex education, and it is a wonder to this day that I survived.

But I’m dancing around the central issue. The bible of pubescence was and remains J.D. Salinger’s The Catcher in the Rye. Here was a book that addressed my concerns directly, that understood my life from the inside, that expressed those unsayable thoughts. I gobbled it up, and all the Glass family sagas and short stories. I wanted more; there were no more.

There were other books that teens revered, and I read those, too: John Knowles’ A Separate Peace and William Golding’s Lord of the Flies — which, because I was a teenager and therefore an idiot, so it never bothered me that Golding told of a world-view diametrically opposed to Salinger’s fable of self-righteous innocence. catcher cover

Holden Caulfield recognized the essential hypocrisy of adulthood and pointed fingers everywhere but reflexively. The purity of his heart guarded the cleanliness of his soul. I signed on. It was society that was rotten.

Of course, looking back, one realizes Holden Caulfield was the biggest phony of them all. But it is the nature of hucksters and demogogues that they project their limitations outward. It is what makes them so convincing, at least to the unformed souls they lead around by the nose.

I have tried to reread Salinger a few times as a grown-up, but the treacle leaves an unpleasant coating on the inside of my mouth.

My self-image at the time was that I was a budding bohemian, that I was an intellectual among cattle. I had subscriptions to Evergreen magazine and Paul Krassner’s The Realist. I read Jean-Paul Sartre’s Les Mots. I listened most nights in my bed to Jean Shepherd on the radio, and never really understood that the “hipsters” he railed against were the very people I idealized. evergreen 1965Irony, at that age, is invisible. We look right through it without seeing it. I went to Greenwich Village every opportunity I got and frequented the Sheridan Square Paperback Corner.

Lordy, I was a pretentious twit.

There were books I was required to read for school, but while these books are worthy, they are wasted on adolescents who cannot grasp their import. I read The Great Gatsby for school, and never quite understood that Gatsby was a gangster. Over my head. The Scarlet Letter was assigned, and I don’t think I even understood that Pearl was Hester’s daughter. I’m not sure why a punk kid was ever asked to read such a rich and subtle book. There was clearly no way I could wrap my tiny, unformed brain around the complexity of that book — to say nothing of the boredom induced by paragraphs that long without being broken up into constant bites of dialog.

There was a tendency during those years, when introduced to a book I enjoyed, to attempt to read everything else by that author. Gobble it all up, nine-yards and a tail. That is the way it was with the Glass family, and that is how it was with Jack Kerouac.juliette greco

There was scarcely a Kerouac book in print in the mid-1960s, that I didn’t inhale, starting with On the Road, which I read twice. I fantasized riding the rails, driving a broad-hipped Hudson at a hundred miles an hour through the nights of Nebraska, listening to Ornette Coleman and dispensing off-the-cuff witticisms to the Juliette Greco on my lap. When I had a chance to travel to Europe between my junior and senior years, I took Lonesome Traveler with me, and in the bookstalls along the Seine in Paris, found Big Sur and Subterraneans in British paperback editions.

I am amazed when I look back, at how much I read — all of which was outside schoolwork, which I neglected. And I am amazed now at how little of anything I read then I retained. It went through me like a sieve. All that verbiage accumulated around me like gravel around a caddis fly larva, and when I left for college, I shed that cocoon and started fresh with a new set of enthusiasms.

Next: Reading outside the curriculum

bruckner stamp austria

Are you old enough for Bruckner?

Poet Ezra Pound said there is no reason you should like the same book (or music or art) at 40 that you liked at 16. At 16, I liked Ezra Pound; now I’m 65.

The author graduates high school in 1966

The author graduates high school in 1966

Our tastes change as we age, or they should. My introduction to classical music was Tchaikovsky. His symphonies and concertos pumped new-generated hormones through my arteries like adrenalin — when I was in high school.

It wasn’t long before I left him behind for Stravinsky, then Beethoven.

By the time that I was middle-aged, I had gone through Bach, Mozart, Berlioz, Debussy, Mahler, and most recently had added Bruckner and Haydn to the list. I get things from each of them I was deaf to earlier. Now that I am retired, I have finally come to appreciate Verdi. But, boy, it was hard to get past all the oom-pah-pah-pah, oom-pah-pah-pah.

The path won’t be the same for everyone, but there are some general patterns that seem to hold.

In painting, we all loved van Gogh at about the same time we loved Tchaikovsky. There is a bigger-than-life striving in van Gogh that appeals to the adolescent, striving himself for some sense of the heroic.

The author 1975

The author 1975

That same aspiration drove us to read Catcher in the Rye.

With a few more years under an increasingly large belt, we drop Tchaikovsky as hopelessly sentimental, Salinger as naive and simply move past van Gogh as we become aware of the Impressionists, who tickle our eyes all over again. Hormones calm, reality sets.

When we are in college or as grad students, we tend to gravitate to those things that are trendy, new, and exclusive, that set us off from the proles: We read Umberto Eco or — in my generation, Alberto Moravia and Robbe-Grillet. We jumped on Marina Abramowic  and Bruce Nauman and listened to Lutoslawski, Schnittke and Harry Partch. Yes to Pina Bausch, meh to Swan Lake.

The author 1977

The author 1977

Yes, we were showing off. In many cases we admired more than enjoyed.

We then gave up the need to be au courant or exclusive as we came to distinguish between the gee-whiz and the substantial.

As adults, we craved the substantial. Adult tastes are acquired tastes: Poussin, Schoenberg, Milton, rutabagas, pickled herring.

Old age now brings something else: simplicity and inclusiveness. I am no longer quick to drop the critical meat-cleaver and sever away something I consider unworthy. They are all worthy. Tchaikovsky as much as Webern, Salinger as well as Joyce. We are enriched by each of them.

The author in his "Van Gogh" pose 1980

The author in his “Van Gogh” pose 1980

(No, I haven’t gone senile — I’m not ready to accept Andrew Lloyd Webber or Thomas Kinkade, although I see some value in Norman Rockwell that would have shocked me to hear anyone admit when I was 20. No, Rockwell is no Raphael, but there is room for an entire spectrum of abilities and accomplishments. What I ask isn’t so much undying masterpieces, as sincerity of attempt, and a willingness to put in the work.)

So, growth isn’t just a case of moving on from one thing to another, but adding more and more to our trove. By the time you are my age, you will have a heady backlog of esthetic experiences to draw on.

What is most interesting to me is that, if we continue to grow, we can return to art we left behind and find something new in it. From age 17 to about 40, I couldn’t bear Tchaikovsky — it seemed like treacle. But then I began noticing his bizarre harmonic sense and what I might call ”orchestration from Mars.” You only have to read the scores to see how peculiar is his voice leading. When I could get past the heart on the sleeve, I discovered an intelligence there that was hiding, or rather, that I was unwilling to discover, having made up my mind and moved on.

The author at Canyon de Chelly, 1989

The author at Canyon de Chelly, 1989

An now that I am bald, bearded and grey, I find that there is something even in the emotional immediacy that once embarrassed me.

As we grow, we not only grow into new experiences, we grow out of our old prejudices.

This all came back to me this week as I watched Lust for Life on cable. The 1956 biopic starred Kirk Douglas as van Gogh and Anthony Quinn as Gauguin. The film is an odd combination of excellence and awfulness, mixing insight with bromides, sanitizing the painter’s life while emphasizing the insanity.

More than anything, this is the van Gogh who appeals to adolescents, the van Gogh of idealism, identity crisis and suicide.

Alienated, misunderstood.

But there is one more aspect of him that is included: his commitment and perseverance. These quieter virtues, more than his insanity, give van Gogh his stature as an artist.

the author lecturing 2005

the author lecturing 2005

There was a time, in my 20s, that I dismissed van Gogh. The peculiar paint-busy canvasses, I was convinced, were just the evidence of a deranged mind. If you were schizophrenic, you could be a great artist, too.

But more careful study in recent years, especially of the many notebooks filled with drawings, told me something else again. Van Gogh paints the way he does because of his unwavering honesty to his eyes. He kept looking till he got it right.

And ”right” for him was to notice everything that his eyes saw, not merely what he had been trained to see.

If you stare long enough and with enough concentration, you can see something of the granular reality van Gogh saw. We no more pay attention to it in daily life than we pay attention to the grain in a movie’s film stock. It is not the information, but the medium of the information. We filter out so much. Van Gogh didn’t.

the author at Giverny 2008

the author at Giverny 2008

The other wonderful thing about van Gogh is that he had so little talent.

We tend to think of great artists being as fluent as Mozart or Raphael. Yet talent is a poor indicator of quality in art. For every Raphael, there are scores of Geromes and Bouguereaus: accomplished and pretty, but ultimately empty.

Van Gogh shared a lack of talent with several other great artists: Cezanne, for instance; or Jackson Pollock. One searches the drawings and oil sketches of Cezanne for even the slightest encouragement of talent. His drawing is hopelessly awkward.

Pollock searched for years for an adequate means of expressing what was inside him. To do it, he had to give up everything he had learned. If he had no talent for drawing, he would not draw. He found a talent for splashing instead.van gogh landscape

Van Gogh’s notebooks are full of erasures. He looked, drew, erased, looked again, drew again, erased again. Many drawings are never finished, but those that are, are right in a way the more facile Ingres never is.

Van Gogh was stubborn. I admire that in him more than I admire the talent of William Merritt Chase.

But give me another 10 years and we’ll see.