In Memoriam: Allie Caulfield in The Catcher in the Rye

In Memoriam: Allie Caulfield in The Catcher in the Rye

Author(s): Edwin Haviland Miller

Publication Details: Mosaic 15.1 (Winter 1982): p129-140.

Source: Contemporary Literary Criticism. Ed. Jeffrey W. Hunter. Vol. 138. Detroit: Gale Group, 2001. From Literature Resource Center.

Document Type: Critical essay

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Full Text: COPYRIGHT 2001 Gale Group, COPYRIGHT 2007 Gale, Cengage Learning

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[(essay date Winter 1982) In the following essay, Miller draws attention to Holden's conflict with his brother's death as a principal theme in The Catcher in the Rye.]

Although J. D. Salinger's Catcher in the Rye deserves the affection and accolades it has received since its publication in 1951, whether it has been praised for the right reasons is debatable. Most critics have tended to accept Holden's evaluation of the world as phony, when in fact his attitudes are symptomatic of a serious psychological problem. Thus instead of treating the novel as a commentary by an innocent young man rebelling against an insensitive world or as a study of a youth's moral growth,¹ I propose to read Catcher in the Rye as the chronicle of a four-year period in the life of an adolescent whose rebelliousness is his only means of dealing with his inability to come to terms with the death of his brother. Holden Caulfield has to wrestle not only with the usual difficult adjustments of the adolescent years, in sexual, familial and peer relationships; he has also to bury Allie before he can make the transition into adulthood.²

Life stopped for Holden on July 18, 1946, the day his brother died of leukemia. Holden was then thirteen, and four years later--the time of the narrative--he is emotionally still at the same age, although he has matured into a gangly six-foot adolescent. "I was sixteen then," he observes concerning his expulsion from Pencey Prep at Christmas time in 1949, "and I'm seventeen now, and sometimes I act like I'm about thirteen."³

On several occasions Holden comments that his mother has never gotten over Allie's death, which may or may not be an accurate appraisal of Mrs. Caulfield, since the first-person narrative makes it difficult to judge. What we can deduce, though, is that it is an accurate appraisal of Holden's inability to accept loss, and that in his eyes his mother is so preoccupied with Allie that she continues to neglect Holden, as presumably she did when Allie was dying.

The night after Allie's death Holden slept in the garage and broke "all the goddam windows with my fist, just for the hell of it. I even tried to break all the windows on the station wagon we had that summer, but my hand was already broken and everything by the time, and I couldn't do 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." The act may have been "stupid"--which is one of his pet words to denigrate himself as well as others--but it also reflects his uncontrollable anger, at himself for wishing Allie dead and at his brother for leaving him alone and burdened with feelings of guilt. Similarly, the attack on the station wagon may be seen as his way of getting even with a father who was powerless either to save Allie or to understand Holden. Because he was hospitalized, he was unable to attend the funeral, to witness the completion of the life process, but by injuring himself he received the attention and sympathy which were denied him during Allie's illness. His actions here as elsewhere are inconsistent and ambivalent, but always comprehensible in terms of his reaction to the loss of Allie.

So too is Holden's vocabulary an index to his disturbed emotional state--for all that it might seem to reflect the influence of the movies or his attempts to imitate the diction of his older brother, D. B. At least fifty times, something or somebody depresses him--an emotion which he frequently equates with a sense of isolation: "It makes you feel so lonesome and depressed." Although the reiteration of the word reveals the true nature of his state, no one in the novel recognizes the signal, perceiving the boy as a kind of adolescent clown rather than as a seriously troubled youth. As his depression deepens to the point of nervous breakdown, furthermore, Holden--who at some level of awareness realizes that he is falling apart--seeks to obscure the recognition by referring to everything as "crazy" and by facetiously likening himself to a "madman."

"Crap," another word he uses repeatedly, is similarly self-reflexive. Although it is his ultimate term of reductionism for describing the world, like "crazy" it serves to identify another of his projections. He feels dirty and worthless, and so makes the world a reflection of his self-image. Similarly, if he continually asserts, almost screams, that the phony world makes him want to "puke," it is because Holden's world itself has turned to vomit. In his troubled, almost suicidal state he can incorporate nothing, and, worse, he believes there is nothing for him to incorporate. In turn, the significance of his repeated use of variations on the phrase "that killed me" becomes almost self-evident: reflecting his obsession with death, it tells the unsuspecting world that he wishes himself dead, punished and then reunited with Allie.

Although his consistently negative and hostile language thus reflects Holden's despair and is his way of informing the world of his plight, if no one listens it is primarily his own fault. For with the usual fumbling of the hurt he has chosen a means which serves his purposes poorly. While his language may serve to satisfy his need to act out his anger, at the same time it serves to isolate and to punish him further. If in his hostile phrases he is calling for help, he makes certain that he does not receive it. Ashamed of his need--a sixteen-year old crying for emotional support--and unable to accept kindness since in his guilt he feels he does not deserve it, Holden is locked into his grief and locked out of family and society.

In this respect, the first paragraph of Catcher in the Rye is one of the most deceptively revealing possible. Although Holden, the would-be sophisticate, relegates his familial background to "David Copperfield kind of crap," he talks about little else except his "lousy childhood." Arguing that he will not divulge family secrets so as not to cause pain, and pretending to respect the feelings of his parents, he verbally mutilates them, and in an ugly way; but if he is to suffer, so must they. He retaliates in kind, not in kindness. Yet the aggressive, assertive tone masks a pitiful, agonized call for emotional support and love.

Equally revealing of Holden's problem is his observation, as he stands alone on a hill that cold December, his last day at Pencey Prep, looking down at the football field where his classmates are participating collectively in one of the rites of adolescence: "it was cold as a witch's teat, especially on top of that stupid hill." What he wants is the good mother's breast. And why he needs this maternal comfort so much is implicitly suggested when he descends the hill to say good-by to his history teacher, who cannot understand why in answering a question about Egyptian history on an examination Holden should have begun and ended with a description of the preservation of mummies. The teacher cannot know that Holden has no interest in the Egyptians, only in what happened to Allie, and that he cannot focus on ancient history until he has come to terms with his own past. Nor can he know that Holden has misinterpreted as rejection his father's concern for his future, that the boy wants to be at home, and that to accomplish his goal he has failed in four different schools.

But lest one think that this insensitivity is a fault of the older generation, Salinger next portrays the response of one of Holden's peers to the first of a number of roles he will play in his desperate attempt to disguise his obsession with Allie's death, on the one hand, and his need for parental comfort, on the other. Thus when Holden pulls his red hunting cap over his eyes and says histrionically, "I think I'm going blind. ... Mother darling, everything's getting so dark in here. ... Mother darling, give me your hand," the response of his classmate is: "You're nuts. ... For Chrisake, grow up." Ackley cannot know that Holden assumes Allie's red hair when he puts on the red cap, that the simulated blindness is descriptive of Holden's state, or that he uses the script as a (futile) means of asking for the maternal hand that he believes has been denied to him.

If Ackley does not appreciate the extent to which the death of Holden's red-haired brother informs his posturing, even less is his room-mate Stradlater aware of the chain of associations that he sets off when he asks Holden to write a composition for him. Unable to write about a "room or a house" Holden writes about Allie's baseball mitt--an object which is a complex version of a child's security blanket, a sacred relic of the living dead, at the same time that it reminds Holden of betrayal. And thus as he writes about the mitt, we learn directly for the first time of Allie's death and of Holden's self-punishing rage.

By coincidence, Stradlater has a date that evening with Jane Gallagher, the girl to whom Holden had shown the glove in a combined attempt to sympathize with her for her unhappy childhood and to solicit her sympathy for himself. Worried that Stradlater will make "time" with an attractive girl with whom Holden plays checkers--the only kind of play of which the self-styled sex maniac is capable--Holden presses to know what has happened on the date. And when Stradlater implies that he got what he wanted, Holden lashes out with the hand he injured on the day of Allie's death. Subsequently pinned to the floor until he promises to stop his ridiculing insults, as soon as he is released, Holden shouts, "You're a dirty stupid sonuvabitch of a moron," and then he receives the blow that subconsciously he wants. "You asked for it, God damn it," Stradlater says, and he is right for reasons he does not understand.

And so on his last day at Pencey Prep Holden makes a clean sweep of it: he writes off the school, his chums, and even Jane. There is no Tom Sawyer to rescue him when he eventually quotes Huck Finn: "I felt so lonesome, all of a sudden. I almost wished I was dead." Suddenly Holden decides to leave late that evening even though his family is not expecting him until the following Wednesday. His Mark Cross luggage packed, he is "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!'" Thus, in his usual hostile fashion, Holden makes sure that he will be rejected. Protected only by the red hat, which he now wears like a baseball catcher as he evokes Allie's favorite sport, he stumbles down the stairs and "damn near broke my crazy neck."

On the train to New York he strikes up a conversation with a Mrs. Morrow, who turns out to be the mother of one of his former classmates. He lies through his teeth praising her son who is "about as sensitive as a goddam toilet seat." But "Mothers are all slightly insane. The thing is, though, I liked old Morrow's mother," who happens to be proud of her moronic son. When she wonders whether Holden is leaving school before the beginning of vacation "because of illness in the family," he casually informs her, "I have this tiny little tumor on the brain." The fib achieves the expected result, Mrs. Morrow's genuine sympathy for an ill "son."

Though Holden plans to spend the next few days in a hotel, he is "so damn absent-minded" that he gives the cab driver his home address. After he realizes his "mistake," they drive through Central Park, and Holden asks the driver whether he knows what happens to the ducks in the pond during the winter. The "madman" replies angrily, "What're ya tryna do, bud? ... Kid me?" Worried that he has antagonized the man, Holden invites him for a drink. When the driver refuses, Holden, "depressed," retaliates against "father": "He was one of those bald guys that comb all their hair over from the side to cover up the baldness."

In the hotel he is bored but "feeling pretty horny," as a sixteen-year old is supposed to feel, and he calls up a whore but lets her put him off ("I really fouled that up.") Then he thinks of telephoning his sister Phoebe, who "has this sort of red hair, a little bit like Allie's was," but he is afraid his mother will answer. He goes to the bar in the hotel and dances with some older women from Seattle who are in New York to see the celebrities, not to provide Holden with entertainment or solace. He punishes them for neglecting him when he fibs that Gary Cooper has just left the room. On the way to a bar frequented by his older brother D. B., who is now, according to Holden, prostituting himself in Hollywood, he asks a cabby named Horwitz about the ducks in the lagoon in Central Park. Horwitz gets "sore" and counters in a typical New York taxi discussion that "The fish don't go no place." Desperate for companionship, Holden invites Horwitz for a drink. The driver refuses and has the last word: "If you was a fish, Mother Nature'd take care of you, wouldn't she? Right? You don't think them fish just die, when it gets to be winter, do ya?" Holden does not comment, but Horwitz unwittingly summarizes the boy's dilemma.

Later, in D. B.'s nightclub Holden glosses over his loneliness by observing the behavior of the phonies in the club, and then rejects the invitation of one of D. B.'s girl friends as others have rejected him. When Holden returns to his hotel, an elevator operator named Maurice sets him up with a call girl, but when "Sunny" arrives, he is "more depressed than sexy," and asks her to stay and talk. He pays her $5.00 and then "depressed" begins "talking, sort of out loud, to Allie."

Maurice returns with Sunny and demands another $5.00 for services not rendered. Holden tries to defend his rights but begins to cry. Sunny wants to leave quietly after she takes money from Holden's wallet, but Maurice "snapped his finger very hard on my pajamas. I won't tell you where he snapped it, but it hurt like hell." (The sudden self-protective chastity is an amusing and effective detail.) When Holden calls Maurice "a stupid chiseling moron," for the second time that evening he is smacked, with a "terrific punch" in his stomach. Hardly able to breathe, fearing he is drowning, he stumbles toward the bathroom. "Crazy," he acts out a scenario: with a bullet in his gut, he goes down the stairs and puts six shots into Maurice's "fat hairy belly," and then throws the gun down the elevator shaft. He calls up Jane, who comes over and bandages his wound: "I pictured her holding a cigarette for me to smoke while I was bleeding and all." Finally he goes to sleep "What I really felt like, though, was committing suicide I felt like jumping out the window. I probably would've done it too"--except for the "stupid rubbernecks."

Holden's protestations to the contrary, the associations in this scene are only superficially from the "goddam movies." Maurice threatens Holden with castration, even though he has not had sex with Sunny, and then pummels him in the stomach. In retaliation Holden commits parricide. In his fantasy he summons Jane, who is associated with Allie through her knowledge of the baseball mitt, and has her play the role of mother.

When Holden thinks of jumping out the window, he is recalling an event which the reader does not learn about until later. A few years earlier Jimmy Castle, a classmate, was so tortured and brutalized, presumably genitally, by a bunch of students that he leaped from a window, wearing Holden's turtleneck sweater. As though Holden is not sufficiently burdened with his unresolved grief for Allie, he has had to cope with this tie to an unfortunate classmate. Sunny, the prostitute, anticipates the appearance of Phoebe, who is both the kid sister and by mythic association the sun goddess. Sunny offers Holden sex, Phoebe will offer him love. Unable to handle sex, Holden wants Sunny to be a confidante, a role which she is unable to handle. Yet she tries unsuccessfully to protect him from Maurice's aggression, which may be Holden's construction of his mother's ineffectual role in the Caulfield household.

At breakfast on the following morning he meets two nun school teachers, and begins a conversation which shortly turns to Romeo and Juliet. If the scene with Sunny reveals that Holden is not ready for sexual relationships--he is a "sex maniac" only in his head--his comments on the tragedy solely in terms of Romeo's culpability in Mercutio's death confirm the arrestment. He is attracted to the nuns, or mothers, who remind him of "old Ernest Morrow's mother," but they also remind him that his father was a Catholic until he "married my mother." This leads him to recall some unpleasant associations with Catholics, and when he says good-by to the nuns, "by mistake I blew some smoke in their faces. I didn't mean to, but I did it." In atonement for his unkindness Holden makes a symbolic apology to the nuns when he imagines them standing in front of a department store raising money for charity. He tries "to picture my mother or somebody, or my aunt, or Sally Hayes's crazy mother, standing outside some department store and collecting dough for poor people in a beat-up old straw hat. It was hard to picture." Since his "picture" of his mother is too harsh, and anxiety-producing, he guiltily corrects it: "Not so much my mother, but those other two."

Walking along the street, he sees a family coming from church--"a father, a mother, and a little kid about six years old." Holden "sees" the family, but only in terms of his own situation. Without evidence he initially assumes that the parents are neglecting the boy who walks along the curb singing to himself. "If a body catch a body coming through the rye"--or so Holden imagines. For it is doubtful that the six-year-old, if he knows the poem in the first place, duplicates Holden's misreading of the famous lines. What Holden "hears" anticipates the grandiose fantasy he will later relate to Phoebe in which he catches and saves children. For a moment he is charmed with his fantasy of a self-contained kid whose parents are at hand to protect him: "It made me feel not so depressed any more."

In the afternoon Holden escorts Sally Hayes to a Broadway show and goes ice skating at Rockefeller Center. Then they sit down for a chat--about Holden. He pours out his anger at the phony world, and when Sally tries to be sensible, he almost screams at her, "I don't get hardly anything out of anything. I'm in bad shape. I'm in lousy shape." Sally can hardly be expected to understand how empty he feels, or know how to respond to his cry for sympathy. Then he proposes what he knows she cannot agree to, that they run off together to New England. When she objects to the scheme, he verbally assaults her but not without self-pity: "she was depressing the hell out of me."

After this rejection, which in his usual fashion he makes inevitable, he tries to lift the depression by evoking earlier, happier days when the Caulfield family was intact. He goes to Radio City Music Hall, where, with the parents in another part of the theater, Allie and he had sat by themselves watching a favorite drummer. But pleasant memories of Allie cannot rescue him, and he goes to a bar to meet a former classmate named Luce. Although Holden wants Luce's companionship and assistance, he subjects him to an offensive, crude interrogation about his sex life. Twice Luce asks, repeating the question put earlier by Ackley, "When are you going to grow up?" After Holden confesses that his sex life "stinks," Luce reminds him that once before he had advised him to see an analyst. At once Holden asks for more information and comes as close as his pride permits to begging for the kind of aid which Luce of course cannot provide. When Luce gets ready to leave for his date, Holden implores, "Have just one more drink. Please, I'm lonesome as hell."

Now "really drunk" and wounded, because Luce like the others betrays him, he replays the scenario of "that stupid business with the bullet in my guts again. I was the only guy at the bar with a bullet in their guts. I kept putting my hand under my jacket, on my stomach and all, to keep the blood from dripping all over the place. I didn't want anybody to know I was even wounded. I was concealing the fact that I was a wounded sonuvabitch." Even in fantasy his self-pity turns into self-disparagement: he hates himself as he screams for attention.

He decides to call up Jane Gallagher, but by "mistake"--it is almost a comedy of errors--he dials Sally Hayes and makes up for his insults. Then he goes to the men's room, dunks his head in a washbowl, and sits on a radiator to dry himself. When the pianist, a "flitty-looking guy," enters, Holden asks him to arrange a date with the singer at the club. The pianist tells him to go home.

"You oughta go on the radio," I said, "Handsome chap like you. All those goddam golden locks. Ya need a manager?""Go home, Mac, like a good guy. Go home and hit the sack.""No home to go to. No kidding--you need a manager?"

Holden, who needs "a manager," is crying as he goes for his coat. When the middle-aged attendant gives him his coat even though he has lost his check, he returns the kindness by asking her for a date. She laughs, but not derisively, and, intuiting the role he wants her to play, makes him put on his red hunting hat. His teeth chattering, Holden goes to Central Park to "see what the hell the ducks were doing." On the way, one "accident" following another, he drops the phonograph record he has bought for Phoebe. If, as he believes, nothing has been given to him, he cannot give even to his favorite sister and must punish her as he has been punished. When he finds the pond he nearly falls in. "Still shivering like a bastard," he imagines that he has pneumonia and dies.

In this fantasy he acts out his anger against his parents and inflicts upon them the ultimate punishment, his death. His funeral is mobbed and everybody cries: "They all came when Allie died, the whole goddam stupid bunch of them." He feels "sorry as hell for my mother and father. Especially my mother, because she still isn't over my brother Allie yet." In this reenactment of Allie's funeral he displaces his brother and enjoys exclusively the love of his mother. But not for long, since his "picture" cannot lift his guilt, dissolve his rage, or make over reality. People will not mourn him long, no longer than they mourned Allie, and life in the phony world will go on without him. Like Allie he will lie in the cemetery exposed to the elements.

To take his "mind off getting pneumonia and all," he skips "the quarters and the nickel" across the lagoon. "I don't know why I did it, but I did it." Perhaps he imitates a game Allie and he played together, but when he throws away his money, there is only one place he can go--home. Which he does, although he disguises the desire by preserving his fantasy: he goes there to see Phoebe "in case I died and all." In the foyer of the Caulfield apartment he recognizes "a funny smell that doesn't smell like any place else," and he finds Phoebe asleep in D. B.'s bed: "I felt swell for a change." Safe and protected, he begins to relax and no longer worries "whether they'd catch me home or not." What he does not say is that he would like to be caught. At first Phoebe is "very affectionate" until she guesses that he has been kicked out of Pencey Prep. Then, hurt and angry, a reaction which he cannot understand, she beats him with her fists and says over and over, "Daddy'll kill you!" At last Holden tellingly replies, "No, he won't. The worst he'll do, he'll give me hell again, and then he'll send me to that goddam military school. That's all he'll do."

In this climactic scene Phoebe plays a double role. About Allie's age when he died, she is the sister disappointed in the failures of her idealized brother, but she is also an underaged, undersized mother figure. Firmly but affectionately Phoebe presses Holden to explain why he has been expelled. He pours forth all his phony rationalizations, most of which begin and end with something or somebody "depressing" him. When Phoebe suggests that the fault may be his--"You don't like anything that's happening"--he is "even more depressed." She insists, now perhaps not unlike the lawyer father, that he name some things he likes. Unable to "concentrate" on her disturbing questions, Holden thinks of the two nuns and of Jimmy Castle's suicide--kind mothers and a dead son. Relentlessly but not without a concession, Phoebe asks him to tell her "one thing" he likes.

"I like Allie," I said. "And I like doing what I'm doing right now. Sitting here with you, and talking, and thinking about stuff, and--""Allie's dead--You always say that! If somebody's dead and everything, and in Heaven, then it isn't really--""I know he's dead! Don't you think I know that? I can still like him, though, can't I? Just because somebody's dead, you don't just stop liking them, for God's sake--especially if they were about a thousand times nicer than the people you know that're alive and all."

Phoebe is silent. Holden believes that "she can't think of anything to say." More perceptive than her older brother, she gives him time to recognize the significance of what he has said: that Allie is dead. Then, like the parents and the teachers, but with an affection that dilutes his anger, she tries to direct Holden to a consideration of a future which--as she tactfully does not say--must be lived without Allie. When she suggests that he may want to be a lawyer, Holden is unable to reply precisely, not merely because he is trapped in his negations, but also because, in spite of his anger, he can only attack the father by indirection. "Lawyers are all right, I guess," he replies, with wayward antecedents, "but it does not appeal to me." He draws a picture of lawyers "saving innocent guys' lives"--which is another rescue fantasy and a disguised self-reference. When he discusses, from his hurt viewpoint, the role of the corporation lawyer, he deflects the indictment of his father through use of the second-person pronoun: "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." Ironically, Holden emulates his father's behavior, from his Mark Cross luggage to his drinking and "hot-shot" attacks on phonies.

Soon Holden confides his most heroic fantasy, undeterred when Phoebe corrects the misquotation of Burns's poem on which it is based.

"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."

This is the most complex of all the rescue fantasies. Holden has the "crazy" idea that he should have saved Allie, and that in the future he will save children abused by adults. If he is savior, he is also victim. For he himself is at "the edge of some crazy cliff" and feels himself, as he puts it later, going "down, down, down." He acts out the role he wants the adult world, particularly his father, to play: that of rescuer.

When a moment later Phoebe and Holden horse around and dance about the bedroom, the youth's delight illuminates his desire for a childhood where there are no fears, only joy and protection. The idyll ends abruptly when the parents come home, and Holden, fearing rejection, hides in a closet. Before he leaves, he borrows Phoebe's Christmas money. For the fourth time he begins to cry: "I couldn't help it. I did it so nobody could hear me, but I did it." For the first time he achieves what he has cried for from the beginning: Phoebe, now the mother, not the little sister, "put her old arm around my neck, and I put my arm around her, too, but I still couldn't stop for a long time." Before he goes, he almost tells the truth about himself as well as about the catcher-in-the-rye fantasy. "I didn't give much of a damn any more if they caught me. I really didn't. I figured if they caught me, they caught me. I almost wished they did, in a way."

Holden leaves to spend the night with a former teacher at a preparatory school, now an English professor at New York University. Antolini has been a role model, a good father, for Holden: he carried the body of Jimmy Castle to the infirmary after his suicide, and he banters in the witty style of D. B. Holden is disappointed when Antolini informs him that he has had lunch with Mr. Caulfield and shares the father's concern that "you're riding for some kind of a terrible, terrible fall." The professor tries intellectually to check the boy's self-destructive tendencies, as Phoebe does in her quite different way. Antolini puts the boy to bed on a couch in the living room, and says "Good night, handsome." Later Holden wakens to find "something on my head, some guy's hand." "Shaking like a madman," he concocts an excuse to leave and spends the rest of the night sleeping on a bench in Grand Central Station. "I think," he writes, "I was more depressed than I ever was in my whole life."

Although initially Holden interprets Antolini's caress as a sexual advance, in the morning he has doubts, "I mean I wondered if just maybe I was wrong about thinking he was making a flitty pass at me." Whatever his intentions, sexual or paternal, Antolini sets off the not unusual homosexual panic of adolescents. But Holden's problem is not primarily sexual. He cannot connect with anyone in any way until the burden of Allie's death is lifted.

Alone, depressed, he walks up Fifth Avenue in the morning looking for the two nuns--looking for mother--when something "very spooky" happens. "Every time I came to the end of a block and stepped off the goddam curb, I had this feeling that I'd never get to the other side of the street. I thought I'd just go down, down, and nobody'd ever see me again." Once more he is at the cliff, and there is no one to catch him, to keep him from going "down, down, down"--except Allie. He cries out, "Allie, don't let me disappear."

Holden has at last touched bottom, although he is not to be spared further indignities, some of his own making. Never again will he summon Allie, which means that he begins to turn from the past and death and to move into the present and toward the living. The inevitable fantasy that he creates in moments of crisis subtly changes. He plans to go "out West, where it was very pretty and sunny and where nobody'd know me." When Holden proposes to Sally that they run off to Vermont or Massachusetts, the flight is in the direction of Maine, where Allie died. In going west he moves toward the living, for D. B. is in Hollywood. Still damaged and still hungering for security, he pictures himself as a deaf mute working at a filling station and--most important--married to another deaf mute. "If we had any children," he declares, with obvious reference to his own lot, "we'd hide them somewhere. We could buy them a lot of books and teach them how to read and write by ourselves." At last Holden's locked world is opening up.

He goes to Phoebe's school to say good-by and to return her Christmas money. He is upset to find "Fuck you" scrawled on a wall, no doubt more upset than the kids who share neither his naive ideas of purity, despite his verbal profanities, nor his fears of sexuality. While he waits for Phoebe at the museum, two boys ask the way to the mummies. As Holden leads them to the Egyptian room, he begins to repeat the information given in his history examination at Pencey Prep about the process of preservation, and frightens the lads who do not share his obsession with death. Instead of a savior or a catcher, Holden turns out to be a bogey man--as unfeeling as the unfeeling adults who have never understood him. Alone in the tomb, he is mocked again by the ugly epithet of sexual assault which he finds on the walls. Typically he overreacts and at the same time punishes himself as he pictures his tombstone: Holden Caulfield--"Fuck you."

If this debasement is not enough, he suddenly has diarrhea, and passes out on the floor of a toilet. It is as though he must experience an elemental purging--get all the "crap" out of his distorted picture of life and of himself. Compulsively he creates still another fantasy of flight. This time he is a thirty-five-year-old man living by himself: "I even started picturing how it would be when I came back. I knew my mother'd get nervous as hell and start to cry and beg me to stay home and not go back to my cabin, but I'd go anyway." If he is still punishing his mother--and himself--at least he pictures himself alive and at the middle of the journey.

When Phoebe comes to the museum with her luggage because she plans to go west too, once again she reaches out to her brother. The act of love is almost too much for Holden. "I got sort of dizzy and I thought I was going to pass out or something again." But he does not fall nor pass out. Instead like the loved-hated parents or like a protective older brother--in short like all the other adults--he automatically advances all the sensible reasons why Phoebe's plans are "crazy." When he begins genuinely to think of someone else's lot, he assumes responsibility. He is no longer the kid who needs and demands everybody's attention.

When Phoebe proves stubborn, he returns her gift of love with another gift. He escorts her to Central Park, not to the duck pond--with its associations with death--but to the carrousel. "When she was a tiny little kid, and Allie and D. B. and I used to go to the park with her, she was mad about the carrousel." In the bedroom Holden and Phoebe had danced together like two kids, but at the carrousel Holden refuses to ride with her and watches her reach for the gold ring. In turn, when he promises to go home with Phoebe, he delights her and at the same time achieves the goal hinted at on the first page of his narrative: "I felt so damn happy all of a sudden, the way old Phoebe kept going around and around. I was damn near bawling. I felt so damn happy."

In the epilogue, Chapter 26, Holden writes of himself at age seventeen in an institution near Hollywood, not far from D. B. After a period of rest and therapy there has been no fabulous transformation, although there has been change. His language is no longer negative, nor is his attitude. He is not sure that he is going to apply himself when he returns to school in September: "I think I am, but how do I know? I swear it's a stupid question." Although he has to put up token resistance--after all, he is Holden Caulfield--he is ready to go "around and around" in the game of life and no longer needs Allie's mitt or hat to protect him. Nor must he picture himself as the victim of insensitive adults; the psychoanalyst's advice is not "bull."

When D. B. asks him about "all the stuff I just finished telling you about," he replies truthfully, without a defensive wisecrack. "About all I know is, I sort of miss everybody I told about." At last he cuts through his "crap," his evasions and hostile defenses. He wants, as he has always wanted, to establish connections, and he is well on his way to doing just that, for in his narrative he has at least established connections with readers.

"Don't ever tell anybody anything," he writes at the conclusion; "if you do, you start missing everybody." But telling is precisely what he has been doing and in the process Holden has finished mourning. Allie now rests in peace.

Notes

¹Holden Caulfield has been called "a lout," a saint, a "sad little screwed-up" neurotic, and a "beatnik Peter Pan," but he deserves none of these epithets, positive or negative. The novel has been read as a critique of "the academic and social conformity of its period" (Maxwell Geismar), as a modern version of the Orestes-Iphigeneia story (Leslie Fiedler), as a commentary on the modern world in which ideals "are denied access to our lives" (Ihab Hassan), or as a celebration of life (Martin Green). These essays appear in Salinger--A Critical and Personal Portrait, ed. Henry Anatole Grunwald (New York, 1962).

²James Bryan recognizes that "the trauma" behind Holden's problems is the death of his brother Allie, but he proceeds to examine the work in terms of Holden's psychosexual growth when clearly the youth's development is emotionally arrested. See "The Psychological Structure of The Catcher in the Rye," PMLA, 89 (1974), 1065-74.

³J. D. Salinger, The Catcher in the Rye (New York, 1964), p. 9.

Source Citation

Miller, Edwin Haviland. "In Memoriam: Allie Caulfield in The Catcher in the Rye." Mosaic 15.1 (Winter 1982): 129-140. Rpt. in Contemporary Literary Criticism. Ed. Jeffrey W. Hunter. Vol. 138. Detroit: Gale Group, 2001. Literature Resource Center. Web. 27 Sep. 2011.