Theme Of Catcher In The Rye And The 21st Century
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The Catcher in the Rye - Summary \u0026 Analysis - J.D. Salinger
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And, I also felt that the theme has been overdone, and the ending was quite predictable: suicide. It's always the easy way out, the only seeming option in every such story. The reason why it's not a one is because I liked John, liked his values and the way he fought for them: intellectual conversation. He tried to use logic, reason, and persuasive words to convince Mond that happiness without truth is not real happiness. To no avail, of course. Although, if he had tried to organize a rebellion from the natives, he probably would have had a higher chance of not killing himself. Ahh, the deeply disturbing story of the Congo. I get it, there are important lessons about history that are told through this book.
But if you've read it, you'll know that it takes about an hour to understand 5 pages worth of the story. To me, it was like Hawthorne on steroids, and as compelling as the characters and motifs of exploitation and evil were, the plot was not enticing at all. Lennie, everyone's favorite gentle giant, minus the gentle. I'm not going to lie, it's been a minute since I've read this one.
But from what I can remember, I cried at the end, for obvious reasons if you've read the book. It's about the contrast between one's dreams and the cold harsh reality. George and Lennie think of a paradise farm, where no one hurts anyone or steals from one another. Crooks, of course, dismisses this idea entirely, thinking it too lavish for this world. And it's also about how people basically suck, men at least. Don't get me wrong, it's not like women are perfect. But they named her "Curley's wife," for a reason, to make it about the males, and deprive her of her character.
That's one of the main reasons I didn't like this one. And killing Lennie? Well, it was like if you shot your dog or something. God knows they brought that up enough. Also I didn't much like any of the characters, except George, Lennie, and Slim. It was short, and most certainly not sweet. This was one of the better dystopian novels I've come across. It's a unique point of view: a book fireman who burns books for a living, in a world where books are banned, who realizes the loss of depth and realism in the world around him, meaning that's actually found inside of books. I really liked the way Bradbury wrote it too, and the sections titled things like "The Sieve and the Sand," offering cool double meanings.
The story was great, the meanings were great. But it's dystopian, so it falls lower on the scale. I think you realize that my scale is a little bit biased against dystopian books, by now. It's like there's so much tragedy in the world today and historically that you can talk about, why bring down the future? The civilized group of boys gone mad, the proper turned improper, the facets of normalcy wasted away into pure animal behavior. It's an interesting story, I will not lie to you. But it's a bit much. I think that somewhat realistic stories, with a hint of fantasy or imagination are what work for me, because you can actually imagine it. It sort of speaks to you. There was nothing in this horrific story that I remotely found exhilarating, but the themes of losing yourself to the crowd and standing your ground Piggy were good ones.
Yes, I'm one of the few people who liked Piggy. Sorry for liking the normal one? A for adultery It was a good book, actually. I usually like any book with female empowerment and rising above her ashes as one of the main themes, so Hester and Pearl were pretty awesome. It was a bit difficult to read though, as Hawthorne tends to get particularly verbose and loquacious when he gets really into a description. And the Puritanical Church thing really isn't my vibe, it's more of a vibe-killer. Have you read the play The Crucible?
Man, that was a nightmare. Thank god this wasn't as bad. I think the best word for this book is sweet. It's a lovely tale, with really really important themes about not only the hypocrisy of slavery, but moral awareness. Comparing the plight of Huck at the hands of his Pap to the plight of slaves at the hands of white men, you see how twisted the system really is, how people then, and unfortunately now, live such hypocritical lives.
And then the concept of being "sivilized": how can you tell a boy to take a bath regularly, as its the proper thing to do, and then have two families killing one another? The beauty of the story is it's told though the eyes of a child: without any bias, stigma, or stereotypes, and with a brutally blunt and inquisitive personality, Huck Finn reveals the sorrows of a seemingly splendid life.
And don't you just love Jim? Boy, is Leo Dicaprio involved in a lot of romantic tragedies or what? But let's focus on the book. The Great Gatsby is, first and foremost, a product of its time. The Roaring 20's, hyped up with lavish parties and staggering wealth was only experienced by the few, the privileged: Daisy and Tom. There was a whole other world during that time, one of poverty and third-class living: Myrtle and her husband. And then there was Gatsby: neither here nor there, unable to experience the lavish life of Old New York money without bearing the consequences. All told through the point of Nick Carraway, the unintended observer, who just wanted to write in quiet.
Turns out, you've got to have things happen to you, around you, in order to write. Or, you know, put you in a mental hospital. The difference between Nick and Holden? Their attitudes. Because Nick never made it about himself, even though without him, the story would never have been told. To be or not to be. It's what most people remember from Hamlet, but does anyone remember where it's from? Him contemplating suicide in his 3rd or 4th monologue. It's really not about death or suicide, as the murderous events would have you believe. Rather, it's about loyalty, revenge, and doing one's duty. It's the story of a man, who overcomes opposition and internal fear to confront what is a grave injustice: the murder of his father.
It of course leads to more death, but hey, at least he did what he set out to do. And of course, it's got some interesting side stories along the way, with the oblivious suck-up Polonius and Tweedlee and Tweedledum Rosencrants and Guildenstern offering some much appreciated comedic relief. Just thinking about these books gives me joy:. They're not extremely well-known, a classic in the high school literary curriculum if you will. But they are absolutely amazing. Just in case you haven't read them yet, I won't spoil it. The Sun Also Rises : It's actually the only book I've read by Ernest Hemingway, but it's certainly made me want to try more of his work.
Set in Europe, it features a post WWI climate of the "lost generation. He's in love with Brett, a real player, but who loves him back. Then there's Robert Cohn, a boxer who's not a veteran, and who's personality resembles that of an overgrown child. Weaving from action to inner thought, from logic to emotion, this story perfectly encapsulates the angst and feeling of not belonging that pervaded the era.
It's the perfect balance between realism and fiction. Far from the Madding Crowd: If you haven't already read my article on books by Thomas Hardy, it will give you a much better description of this book. Even though it's set in the 's, it's got this whimsical rural England setting that's just You have the good, old, dependable hero Gabriel Oak, the headstrong female main character Bathsheba Everdeen, the arrogant prick Sergeant Troy, the unfortunate crazy guy William Boldwood, and a bunch of nosy villagers. What could be better?
In all seriousness though, this novel does have from misfortune, but ends happy, which I always love to see. It's got a playful atmosphere, important themes, and really incredible characters. Thank you Hardy, for this masterpiece. As we humans face loss and grief on a daily basis, it's challenging to see the good in all the change. Here's a better perspective on how we can deal with this inevitable feeling and why it could help us grow. What a scary meaning for such a small word.
Loss comes in all shapes and sizes. Just like us. Just like human beings. A loss sends us into a spiral. An uncontrollable, spirling feeling you feel coming up your throat. Oftentimes, when we experience loss, we beg for the "one mores". One more hug, please. Can I have one more kiss? Just one more laugh we can share? We wish for these experiences to just happen once more as if that would ever be enough. The reality is that even if we were privileged with one more, we would want another.
And another. We'd never be satisfied. We'd eventually just wish for eternity. Loss is necessary. Loss is natural. Loss is inevitable. Loss was never defined as easy. In fact, it has to be hard. It has to be hard for us to remember. To remember those warm embraces, to remember the feeling of their lips on yours, and to remember the smile on their face when you said something funny. But why are we so afraid of loss after all? We are so blessed to have experienced it to begin with. It means there was a presence of care.
That ache in our heart and the deep pit in our stomach means there was something there to fill those vacant voids. The empty spaces were just simply whole. We're all so afraid of change. Change in our love life or our families, change in our friendships and daily routines. One day we will remember that losing someone isn't about learning how to live without them, but to know their presence, and to carry what they left us behind.
For everything we've deeply loved, we cannot lose. They become a part of us. We adapt to the way they talk, we make them a part of our Instagram passwords, we remember when they told us to cook chicken for 20 minutes instead of We as humans are so lucky to meet so many people that will one day leave us. We are so lucky to have the ability and courage to suffer, to grieve, and to wish for a better ending.
For that only means, we were lucky enough to love. When Sony announced that Venom would be getting a stand-alone movie, outside of the Tom Holland MCU Spider-Man films, and intended to start its own separate shared universe of films, the reactions were generally not that kind. Even if Tom Hardy was going to take on the role, why would you take Venom, so intrinsically connected to Spider-Man's comic book roots, and remove all of that for cheap action spectacle? Needless to say I wound up hopping on the "lets bash 'Venom'" train. While I appreciated how much fun Tom Hardy was having and the visual approach to the symbiotes, I couldn't get behind the film's tone or story, both of which felt like relics of a bygone era of comic book storytelling that sacrificed actual pathos for that aforementioned cheap spectacle.
But apparently that critical consensus was in the minority because audiences ate the film up. On top of that, Ruben Fleischer would step out of the director's chair in place of Andy Serkis, the visual effects legend behind characters like 'The Lord of the Rings' Gollum and 'Planet of the Apes' Caesar, and a pretty decent director in his own right. Now with a year-long pandemic delay behind it, 'Venom: Let There Be Carnage' is finally here, did it change my jaded little mind about the character's big-screen worth? Surprisingly, it kind of did. I won't pretend that I loved it by any stretch, but while 'Let There Be Carnage' still features some of its predecessor's shortcomings, there's also a tightness, consistency and self-awareness that's more prevalent this time around; in other words, it's significantly more fun!
A year after the events of the first film, Eddie Brock played by Tom Hardy is struggling with sharing a body with the alien symbiote, Venom also voiced by Hardy. Things change when Eddie is contacted by Detective Pat Mulligan played by Stephen Graham , who says that the serial killer Cletus Kasady will talk only with Eddie regarding his string of murders. His interview with Kasady played by Woody Harrelson leads to Eddie uncovering the killer's victims and confirming Kasady's execution.
During their final meeting, Kasady bites Eddie, imprinting part of Venom onto Kasady. When Kasady is executed, the new symbiote awakens, merging with Kasady into a bloody, far more violent incarnation known as Carnage. It's up to Eddie and Venom to put aside their differences to stop Carnage's rampage, as well as Frances Barrison played by Naomi Harris , Kasady's longtime girlfriend whose sonic scream abilities pose a threat to both Venom and Carnage. So what made me completely switch gears this time around?
There's a couple reasons, but first and foremost is the pacing. Serkis and screenwriter Kelly Marcel know exactly where to take the story and how to frame both Eddie and Venom's journeys against the looming threat of Carnage. Even when the film is going for pure, outrageous humor, it never forgets the qualms between Eddie and Venom should be at the center beyond the obvious comic book-y exhibitions. If you were a fan of Eddie's anxious sense of loss, or the back-and-forth between he and the overly eccentric Venom, you are going to love this movie. Hardy has a great grasp on what buttons to push for both, especially Venom, who has to spend a chunk of the movie contending with losing Eddie altogether and find their own unique purpose among other things, what is essentially Venom's "coming out" moment that actually finds some weight in all the jokes.
Then there's Harrelson as Carnage and he absolutely delivers! Absolutely taking a few cues from Heath Ledger's Joker, Harrelson is leaning just enough into campy territory to be charismatic, but never letting us forget the absolutely shattered malicious mind controlling the spaghetti wrap of CGI. Serkis' directing itself deserves some praise too. I can't necessarily pinpoint his style, but like his approach on 'Mowgli,' he has a great eye for detail in both character aesthetics and worldbuilding. That goes from the symbiotes' movements and action bits to bigger things like lighting in a church sequence or just making San Francisco feel more alive in the process. As far as downsides go, what you see is basically what you get. While I was certainly on that train more here, I also couldn't help but hope for more on the emotional side of things.
Yes, seeing the two be vulnerable with one another is important to their arcs and the comedy infusions work more often than not, but it also presents a double-edged sword of that quick runtime, sacrificing time for smaller moments for bigger, more outrageous ones. In addition, while Hardy and Harrelson are electric together, I also found a lot of the supporting characters disappointing to a degree. Mulligan has a few neat moments, but not enough to go beyond the tough cop archetype. The only one who almost makes it work is Naomi Harris, who actually has great chemistry with Harrelson until the movie has to do something else with her. It's those other characters that make the non-Venom, non-Carnage moments stall significantly and I wish there was more to them.
I wouldn't go so far as to have complete faith in this approach to Sony's characters moving forward — Venom or whatever larger plans are in the works — but I could safely recommend this whatever side of the film spectrum you land on. This kind of fun genre content is sorely needed and I'm happy I had as good of a time as I did. The sequel to the reboot is an enjoyable, but unremarkable start to the Halloween movie season. There's a reason why the Addams Family have become icons of the American cartoon pantheon although having one of the catchiest theme songs in television history doesn't hinder them. The family of creepy but loveable archetypes have been featured across generations, between the aforementioned show, the duo of Barry Levinson films in the '90s and, most recently, MGM's animated reboot in That project got a mostly mixed reception and, while I'd count me as part of that group, I thought there was more merit to it than I expected.
The characters and animation designs felt kind of unique, and when it surpassed whatever mundane story the writers had in mind to be more macabre, it could be kind of fun. This is to say my reaction wasn't entirely negative when the sequel was announced, as well as just forgetting about it until I got the screening invitation. With that semblance of optimism in mind, does 'The Addams Family 2' improve on the first film's strengths? Unfortunately, not really. There's fun to be had and the film clearly has reverence for its roots, but between the inconsistent humor and lackluster story beats, what we're left with feels just a bit too unexceptional to recommend.
Some time after the events of the first film, Wednesday Addams voiced by Chloe Grace Moretz has made an incredible discovery: a way to transfer personality traits from one living being to another. While she looks to grand ambitions for her education, her parents, Gomez and Morticia voiced by Oscar Isaac and Charlize Theron respectively believe they are losing her and her brother, Pugsley voiced by Javon Walton , as they get older. The solution: a family road trip cross country alongside their Uncle Fester voiced by Nick Kroll and butler Lurch voiced by Conrad Vernon visiting all the great destinations of the United States. Along the way, a subplot begins to unfold with Rupert voiced by Wallace Shawn , a custody lawyer seemingly convinced that Wednesday is not Gomez and Morticia's biological daughter, and the enigmatic scientist, Cyrus Strange voiced by Bill Hader , who takes an interest in Wednesday's potentially terrifying work.
With the exception of Javon Walton replacing Finn Wolfhard, the voice cast returns for the sequel and they're mostly capable here. Oscar Isaac and Charlize Theron embody a lot of Gomez and Morticia's obsessively sincere dynamic it legitimately makes me think they'd be good in live-action and Nick Kroll delivers a bounty of one-liners that are sure to get a laugh here and there. But the real focus is on Wednesday, who very quickly becomes the center of the film's narrative and it's where I become the most conflicted. The choice to tease Wednesday's "true" connections to the other Addams is admittedly intriguing, especially for how eclectic their backstories are and the film's choice to frame those questions around Wednesday and Morticia's estranged bond.
It's not a lot, but there is some subtext about how children can potentially view the adoption process and how parents choose to frame their relationships with their children. Holden refuses to let her come with him, which upsets Phoebe. He tries to cheer her up by allowing her to skip school and taking her to the Central Park Zoo , but she remains angry. They eventually reach the zoo's carousel , where Phoebe reconciles with Holden after he buys her a ticket. Holden is finally filled with happiness and joy at the sight of Phoebe riding the carousel. Holden finally alludes to encountering his parents that night and "getting sick", mentioning that he will be attending another school in September.
Holden says that he doesn't want to tell anything more because talking about them has made him find himself missing his former classmates. Various older stories by Salinger contain characters similar to those in The Catcher in the Rye. While at Columbia University , Salinger wrote a short story called "The Young Folks" in Whit Burnett 's class; one character from this story has been described as a "thinly penciled prototype of Sally Hayes".
The story " I'm Crazy ", which was published in the December 22, issue of Collier's , contained material that was later used in The Catcher in the Rye. In , The New Yorker accepted a page manuscript about Holden Caulfield for publication, but Salinger later withdrew it. The Catcher in the Rye is narrated in a subjective style from the point of view of Holden Caulfield, following his exact thought processes.
There is flow in the seemingly disjointed ideas and episodes; for example, as Holden sits in a chair in his dorm, minor events, such as picking up a book or looking at a table, unfold into discussions about experiences. Critical reviews affirm that the novel accurately reflected the teenage colloquial speech of the time. Bruce Brooks held that Holden's attitude remains unchanged at story's end, implying no maturation, thus differentiating the novel from young adult fiction. Others highlight the dilemma of Holden's state, in between adolescence and adulthood. It is often said that Holden changes at the end, when he watches Phoebe on the carousel, and he talks about the golden ring and how it's good for kids to try and grab it.
Salinger's "The Catcher in the Rye" , identifies the movie that the prostitute "Sunny" refers to. In chapter 13 she says that in the movie a boy falls off a boat. The movie is Captains Courageous , starring Spencer Tracy. Sunny says that Holden looks like the boy who fell off the boat. Beidler shows page 28 a still of the boy, played by child-actor Freddie Bartholomew. Each Caulfield child has literary talent. Falling off the cliff could be a progression into the adult world that surrounds him and that he strongly criticizes. Later, Phoebe and Holden exchange roles as the "catcher" and the "fallen"; he gives her his hunting hat, the catcher's symbol, and becomes the fallen as Phoebe becomes the catcher.
The Catcher in the Rye has been consistently listed as one of the best novels of the twentieth century. Burger called it "an unusually brilliant novel,"  while James Stern wrote an admiring review of the book in a voice imitating Holden's. Bush called it a "marvelous book," listing it among the books that inspired him. Salinger, Jeff Pruchnic says the novel has retained its appeal for many generations. Pruchnic describes Holden as a "teenage protagonist frozen midcentury but destined to be discovered by those of a similar age in every generation to come. However, not all reception has been positive. The book has had its share of critics, and many contemporary readers "just cannot understand what the fuss is about".
According to Rohrer, who writes, "many of these readers are disappointed that the novel fails to meet the expectations generated by the mystique it is shrouded in. Salinger has done his part to enhance this mystique. That is to say, he has done nothing. In , a teacher in Tulsa, Oklahoma was fired for assigning the novel in class; however, she was later reinstated. The challenges generally begin with Holden's frequent use of vulgar language;   other reasons include sexual references,  blasphemy , undermining of family values  and moral codes,  encouragement of rebellion,  and promotion of drinking, smoking, lying, promiscuity , and sexual abuse. They are trying to be catchers in the rye.
Additionally, after fatally shooting John Lennon , the delusional fanatic Mark David Chapman was arrested with a copy of the book that he had purchased that same day, inside of which he had written: "To Holden Caulfield, From Holden Caulfield, This is my statement". Early in his career, Salinger expressed a willingness to have his work adapted for the screen.
When The Catcher in the Rye was first released, many offers were made to adapt it for the screen, including one from Samuel Goldwyn , producer of My Foolish Heart. Salinger told Maynard in the s that Jerry Lewis "tried for years to get his hands on the part of Holden,"  the protagonist in the novel which Lewis had not read until he was in his thirties. Writer-director Billy Wilder recounted his abortive attempts to snare the novel's rights:. Of course I read The Catcher in the Rye Wonderful book.
I loved it. I pursued it. I wanted to make a picture out of it. Leland Hayward to lay off. He's very, very insensitive. That was the entire speech. I never saw him. That was J. Salinger and that was Catcher in the Rye. In , the BBC television program The Big Read featured The Catcher in the Rye , interspersing discussions of the novel with "a series of short films that featured an actor playing J.
Salinger's adolescent antihero, Holden Caulfield. Phyllis Westberg, who was Salinger's agent at Harold Ober Associates in New York, declined to say who the trustees are now that the author is dead. After Salinger died in , Phyllis Westberg stated that nothing has changed in terms of licensing film, television, or stage rights of his works. He wrote: "Firstly, it is possible that one day the rights will be sold. Since there's an ever-looming possibility that I won't die rich, I toy very seriously with the idea of leaving the unsold rights to my wife and daughter as a kind of insurance policy.
It pleasures me no end, though, I might quickly add, to know that I won't have to see the results of the transaction. After being told that J. Salinger would not agree to sell the film rights, Eisner stated "Well, let's just do that kind of story, that kind of growing up, coming of age story. In , the year before he died, Salinger successfully sued to stop the U. From Wikipedia, the free encyclopedia. Redirected from The catcher in the rye. For other uses, see The Catcher in the Rye disambiguation. Dewey Decimal. Main article: The Catcher in the Rye in popular culture. Michael Mitchell". Archived from the original on September 28, Retrieved January 30, July 16, The New York Times. Retrieved March 18, Literary Reference Center.
December 1, November 15, Retrieved December 20, Magill's Survey of American Literature. New York: Marshall Cavendish Corporation. ISBN X. An earlier article says more than 20 million: Yardley, Jonathan October 19, Salinger's Holden Caulfield, Aging Gracelessly". The Washington Post. Retrieved January 21, It isn't just a novel, it's a dispatch from an unknown, mysterious universe, which may help explain the phenomenal sales it enjoys to this day: about , copies a year, with total worldwide sales over — probably way over — 10 million.
American Library Association. Retrieved August 13, Erie Times-News. Retrieved December 18, New essays on the Catcher in the Rye. Cambridge University Press. ISBN October American Speech. JSTOR Most critics who glared at The Catcher in the Rye at the time of its publication thought that its language was a true and authentic rendering of teenage colloquial speech. Horn Book Magazine. Archived from the original on December 21, Retrieved December 19, The New Yorker. CBC News. Archived from the original on February 25, Studies in the Novel. Salinger Hardcover ed. ASIN The Catcher in the Rye can best be understood as a disguised war novel. Salinger emerged from the war incapable of believing in the heroic, noble ideals we like to think our cultural institutions uphold.
Instead of producing a combat novel, like Norman Mailer, James Jones, and Joseph Heller did, Salinger took the trauma of war and embedded it within what looked to the naked eye like a coming-of-age novel. The American Academy of Achievement. Archived from the original on February 13, Retrieved June 5, BBC News Magazine. The New Yorker , February 8, , p. February 2, Retrieved August 7, Connecticut: Banned Book Week celebrates freedom".
The America's Intelligence Wire. Archived from the original on February 15, In a teacher in Tulsa, Okla. After appealing, the teacher was reinstated, but the book was removed from the itinerary in the school. Book Review ". Modern Language Review. April 1, Censors in the Classroom. Avon Books. Archived from the original PDF on September 28, During , The Catcher in the Rye had the unusual distinction of being the most frequently censored book in the United States, and, at the same time, the second-most frequently taught novel in American public schools.