The catcher in the rye

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The Catcher in the Rye (1951; original title: The Catcher in the Rye ) is a worldwide successful novel by the American writer JD Salinger (1919-2010). In it, 16-year-old Holden Caulfield tells of three days of his worsening life. The book, which is regarded as one of the most important precursors of American young adult fiction , made Salinger world famous. It remained his only published novel.

title

The title of the novel goes back to the poem Comin 'Through the Rye (1782) by the Scottish poet Robert Burns , which became a well-known children's song. Salinger's protagonist, Holden Caulfield, misunderstands the text of his refrain, "Gin a body meet a body, comin 'through the rye", as "Gin a body catch a body, comin'" through the rye ” (Eng.“ If someone catches someone walking through the rye ”). He imagines that he is standing on the edge of a steep cliff in a rye field and protecting the unsuspecting children playing in it from falling into the abyss.

content

First-person narrator of the novel is the sixteen-year-old Holden Caulfield, who at the time of his notes on recovery and psychiatric treatment is in a sanatorium and is looking back on "this insane thing that happened to me around last Christmas".

The novel is about how Holden Caulfield leaves school after being expelled from school for poor performance shortly before the start of the Christmas holidays in order to escape the superficial, self-portrayal behavior of his comrades and school society. For fear of the reaction of the hysterically nervous mother and the professionally successful father, he does not dare to go home immediately, but wanders through Manhattan for three days in search of human closeness and a perspective for the future .

Of the three days, the description of Saturday takes up about half of the book. It is divided into 26 chapters. The book bears the dedication “For my mother”.

Saturday

For Holden Caulfield, son of a wealthy New York lawyer who has already failed at three schools , the days are numbered at the end of 1949 at Pencey Prep boarding school in Agerstown, Pennsylvania . Despite urgent admonitions, he did not achieve the required level of proficiency in four out of five subjects. On top of that, he made a big mistake shortly before Christmas: as manager of the fencing team, he inadvertently left the entire team's equipment in the subway before the competition in New York, so that the event could not take place. He therefore believes that he will not be able to show up at the subsequent American football game between the school and arch-rival Saxon Hall and only watches the match from a distance. Then he makes a farewell visit to his old, flu-sick history teacher Spencer, from whom he has to listen to well-meaning admonitions to his annoyance.

In his living room, Holden is disturbed while reading by the unpopular and unkempt roommate Robert Ackley. Then his vain roommate Stradlater arrives, who boldly borrows Holden's best jacket because he has a rendezvous with the attractive Jane Gallagher, which causes Holden to be extremely excited, since Jane is also Holden's secret crush. After dinner, Holden goes to Ackley for pinball into snowy Agerstown before he sits down at bedtime finally because, as promised, to do Stradlaters English homework. Since Holden can't think of anything to match the specification, he decides to write the required description of his beloved younger brother Allie's baseball glove, which is described with little poems. Allie died of leukemia three years earlier .

When Stradlater returned from his rendezvous around 10:30 p.m. and was upset about what he thought was a useless topic, Holden tore the essay up. Because Stradlater refuses to tell him whether he has become intimate with Jane, Holden is so seized with jealousy that he gets involved in a fight with the much more athletic and older Stradlater, in which he gets a bloody nose.

Full of desperation and indignation, he initially plans to spend the night in bed with Ackley's absent roommate. But then he makes the decision to leave the boarding school on the spot. Instead of going to his parents on New York's 71st Street, he'd rather wait until Wednesday and stay in a cheap hotel until the news of his release arrives at home and things settle down a bit. Holden turns his typewriter into cash and drives to Manhattan that same night.

On the train he meets the mother of his classmate Ernest Morrow, and under a false name he makes fun of describing the hated boy, for the sake of his mother, as personable and admired by everyone. When he arrived in New York, Holden wondered who else he could call around midnight. The beloved ten-year-old sister Phoebe should have been sleeping long ago. So he checks in at the Edmont Hotel, a shabby dump for eccentrics, and calls Faith Cavendish, who has been recommended as an ex-stripper, but who refuses to be persuaded to have a cocktail at such a late hour. Instead, he joins three moderately attractive tourists in the hotel's own bar, with whom he dances a little. However, they are hardly interested in him, do not even listen to him, but are constantly on the lookout for the film star Peter Lorre , whom they wanted to see in the bar the night before.

The pond in Central Park

Still thinking of Jane Gallagher, with whom he once went to the movies and regularly played golf and checkers , Holden drives to Greenwich . On the way - just like on the way to the hotel - he unintentionally enrages the taxi driver by repeatedly asking him his favorite question: where are the ducks from Central Park in winter.

In the packed nightclub of the pianist Ernie, he meets Lillian Simmons, an ex-girlfriend of his older brother DB, who ended up working as a screenwriter in Hollywood after completing his military service in World War II . To escape from her and her companion, a ragged naval officer, Holden leaves the club in a rush and roams back to the hotel through the night.

There he lets himself be persuaded by an intrusive offer from the lift boy Maurice and gets the young prostitute Sunny sent to his room. The situation depresses him more than it stimulates him. Instead of going to bed with her, he tries to distract her from sex under the pretext of allegedly having recently had an "operation on the clavichord" and to win her over as a conversation partner. Since Sunny doesn't want to know anything about it, he pays her the five dollars agreed with Maurice, but she demands double the amount. Holden refuses and sends her off. He is about to go to sleep when Sunny returns with her pimp Maurice, who rudely gains access to Holden's room and threatens him physically. While Sunny takes the allegedly outstanding amount out of his wallet, Holden cannot resist a cannonade of abuse. Maurice gives him several boxing strokes and stretches him to the ground with a targeted punch in the stomach.

Sunday

After a bath, he goes to sleep until 10 a.m., stows his suitcase in a station locker and goes to breakfast. He got into conversation with two nuns, to whom he gave a donation of ten dollars despite the tight budget. While strolling down the busy Broadway , he notices a little boy singing the song If a body catch a body coming through the rye . In a record shop he buys Little Shirley Beans for his little sister Phoebe. He looks for her in Central Park, where she likes to roller-skate on Sundays, but to no avail.

Main entrance of the Natural History Museum

After a detour to the Museum of Natural History , he meets up with his classmate Sally Hayes for a visit to the theater at 2 p.m. He doesn't really think much of her, but she looks so great today that he behaves as if he were in love with her. His affection soon wanes because she talks to a busybody during breaks in the theater and Holden can hardly stand the conversation. Nevertheless, he still goes ice skating with Sally in the Radio City Music Hall , where he complains of his Weltschmerz . He suggests running off with her in the car to Vermont and Massachusetts, wasting the money and looking for a job. Sally thinks the idea is too crazy and reacts angrily when Holden reproaches her for it, so that the two split up in strife.

He tries in vain to get Jane Gallagher on the phone. Instead, after going to the cinema at 10 p.m., he meets his ex-classmate Carl Luce in the Wicker Bar. With his indiscreet questions about his sex life, Holden creates a tense atmosphere, so that Carl leaves soon. Holden gets drunk until after midnight he has the courage to call Sally again. She notices that he has been drinking and ends the conversation. In addition, he has already spent his money, which should last until Wednesday, except for a small remainder. At a loss as to where to spend the night, he goes to the pond in Central Park to discover the secret of the ducks. He sits down on a bench and imagines his own funeral.

Finally he heads for his parents' house; he finally wants to see Phoebe. He sneaks into the apartment and wakes Phoebe, who he learns that the parents have gone to a party and have not returned. Since Holden has actually only announced himself for Wednesday, his sister soon realizes that her brother has already been thrown out of school. She reacts disgruntled. She asks him insistently if there is anything at all that he really likes or enjoys doing. The question embarrasses Holden. He thinks about various things and can't find an answer. Eventually, he remembers the nursery rhyme the little boy sang on Broadway and tells Phoebe he imagines children playing tag in a rye field on a cliff; he would like to be the one to keep the children from falling into the abyss that first caught them. He would like that.

Holden and Phoebe talk, dance and fool around for a while. Holden is on the phone with his old teacher, Mr. Antolini, and is allowed to come to him late at night. When the parents come home, he hides from them in the closet. Then he borrows some money from his sister. He suddenly cries a lot. He sits crying for a long time on the edge of her bed with Phoebe. Then he disappears from the apartment unnoticed.

Monday

With his former English teacher Antolini, who has just said goodbye to his last party guests, Holden finds a friendly reception at an advanced hour. Antolini asks immediately about the reasons for the repeated expulsion from school. He warns Holden that he is “running straight towards an abyss.” He praises the advantages of an academic education to which, in his opinion, there is no alternative. Plagued by headaches and increasing tiredness, Holden soon feels overwhelmed by this conversation. He can sleep on the guest couch. After a while he suddenly wakes up because Antolini is sitting on the floor in front of the couch and gently caressing his head. Holden senses a sexual approach - “something perverse” had happened to him “about twenty times since I was a child”. He leaves the apartment in a hurry.

He spends the rest of the night in the waiting room of Grand Central Station until, depressed and exhausted, he heads to a café for breakfast on Fifth Avenue, which is the pre-Christmas time . He notices that his nerves have become so irritated that even crossing a street causes panic in him. In this situation, he makes the decision never to go home or to school again. He wants to hitchhike west to get by there as a gas station attendant. He wants to pretend to be deaf and dumb so he doesn't have to have stupid conversations.

In order to be able to say goodbye to Phoebe, he sends her a message through the school secretariat to meet at the Natural History Museum at lunchtime. To Holden's horror, she shows up with a packed suitcase because she absolutely wants to accompany him on his journey west. Since he strictly rejects this, she begins to cry and keeps him silent. But she follows him on his way to the zoo instead of going back to school. At her favorite carousel, Phoebe finally calms down because Holden gives up his emigration plans and promises to come home that same day. It begins to rain in torrents. Phoebe puts his hunting hat on Holden, the carousel plays Smoke Gets in Your Eyes . Holden watches as his little sister moves in circles on a scraped old horse. He is soaked to the skin, but is "damn happy".

A short closing sequence shows that Holden came home, then fell ill. He goes to a psychoanalyst. Holden doesn't know what to think of past events and is unclear about his future. He wants to stop telling the story.

analysis

The catcher in the rye can be interpreted on different levels. Often the social criticism that Salinger lets his main character Holden Caulfield exercise on the lying American society of the 1940s and 1950s and the negative sides of the " American way of life " was particularly emphasized .

Other critics and scholars have interpreted the novel primarily on a moral level , concentrating on the analysis of the protagonist's feelings and beliefs, some of which are metaphorically expressed.

A third approach to interpretation offers the psychological aspect of growing up and growing up, which manifests itself above all in the inner change of Holden Caulfield.

Another reading of the novel was developed, especially at US universities, as part of the interdisciplinary gender studies / queer theory . It focuses on the conflict with social norms of sexuality and the uncertainty about one's own gender (non-) identity, critically questions the narrator's discomfort with regard to his or her sexuality ( gender trouble ) and also tries to respond to an outraged or insecure person Readership, both in the 1950s and today, to be included.

Against everything phony: moral standards and social criticism

The 16-year-old Holden abhores everything that he considers to be “phony” or “corny” (“lying” or “affected”), including above all the unnatural falsehood of the entire adult world. But he also includes his girlfriend Sally Hayes when she acts like an adult. He only finds those positive, who behave in a nice, understanding and compassionate manner, i.e. are not phonies . These include Holden's dead brother Allie, his sister Phoebe, his former English teacher Mr. Antolini, his girlfriend Jane Gallagher, two nuns he meets by chance, and Ernest Morrow's mother, whom he meets on a train ride.

The ambivalent character of Holden is also evident in his attitude towards money and property. Even wealth is not important to him, but on the other hand he often judges people disparagingly when he sees their limited financial possibilities, because he sees himself unjustifiably superior to them. A former roommate has deliberately draped the high-quality Holden suitcase as a “status symbol” in the shared room. As a result, he shared a room in the boarding school with the phony Stradlater, who was actually unbearable for him and whose clothes and suitcases looked just as elegant as his own. In addition, Holden's seemingly paradoxical character is shown in quotes such as: “I'm quite illiterate, but I read a lot.” (“I'm quite illiterate, but I read a lot.”)

The characterization of Holden takes place primarily through his attitude towards certain, contrasting pairs of minor characters. He morally condemns his history teacher Mr. Spencer, who reads him a particularly unsuccessful essay with relish, while he characterizes his English teacher Mr. Antolini, who is extremely sympathetic towards him, as positive. The same applies to another couple: Holden's youth crush Jane Gallagher and his current girlfriend Sally Hayes. Jane, although described as not too pretty, has an excellent character in Holden's eyes and is always associated with positive memories. Therefore, Holden is very upset when Stradlater mentions his date with this same Jane. Sally, however, who looks strikingly good, describes Holden mostly negatively. After all, he is so annoyed by her that he throws at her head: "You give me a royal pain in the ass, if you want to know the truth".

Another pair of opposites are Holden's brothers DB and Allie. The older DB is a successful writer in Hollywood, whom Holden admires for his skills as a writer, but also criticizes him for “prostituting” himself in Hollywood. The youngest brother Allie, on the other hand, who is already dead at the time of the plot, is described as an almost perfect person who was never "mad at anyone", but always nice, friendly and compassionate to everyone.

The fact that Holden asks himself where the ducks in the pond in Central Park actually go when the water there freezes over in winter is an indication of the great importance Holden attaches to compassion. That question, one of the leitmotifs of the novel, never lets Holden go: He not only asks two taxi drivers, he even goes looking for the ducks himself in the middle of the night and while drunk. However, he cannot find them and cannot play his role as a “catcher in the rye” who wants to protect those in danger.

The psychological aspect: Holden's inner change from child to adult

Another approach to interpretation relates to the inner change that Holden goes through in the course of the novel. It develops from adolescent adolescence towards a life as an adult. The novel was successful with its young readers, who could and can easily identify with the young main character.

For Holden, Salinger used a youth language interspersed with sometimes quite vulgar slang . The original edition of the book contains the term "goddam" and 3 "fuck you" 255 times and was promptly banned in some Anglo-Saxon countries.

The title of the book, which quotes a line from the poem Comin 'Thro' the Rye by Robert Burns , also refers to the aspect of growing up : “When / If a body meet a body coming through the rye” Someone who comes running through the rye ”). In Holden's memory, the “meet” becomes “catch”. Burns' love poem, the content of which is quite frivolous, is misinterpreted by Holden, because he derives from it the idea of ​​children playing in a rye field, which he had before falling from an adjacent cliff and thus before losing their innocence and falling into it Growing up must preserve. Holden documents his aversion to society, among other things, through his red hunting hat (which Salinger repeatedly mentions as a leitmotif), which he consciously puts on the wrong way round in order to distance himself from the world of phonies . Further evidence of his role as an outsider is provided by his recurring fantasy of a lonely hut in which he would like to live alone like a hermit, disguised as a deaf-mute, so that he would not be bothered by anyone and could part with everything that is lying: "It would be my law that no one who visited me, something hypocritical should do. If someone wanted to do something lying , he couldn't stay with me ”.

The change only happens on the last pages of the novel, when Holden actually makes a decision of his own, namely to flee New York and realize his fantasy of life as a deaf-mute in a lonely hut. However, his little sister thwarts his plan because she wants to come with him. By giving up on his plans, he takes responsibility, because he realizes that he cannot leave Phoebe alone. He feels that he must continue to be there for her - but not as before, when he wanted to guard her as a catcher in the rye and protect her from the "perverse" adult world, on the contrary, by giving her freedom, her own way to find their own fortune and just fall on their faces: “The children [on the merry-go-round] tried to get the golden ring, including Phoebe, and sometimes I was afraid that they would fall off the stupid horse would fall, but I said nothing and did nothing. If the children want to get hold of the golden ring, you have to let them try and say nothing. If they fall, then they will fall in God's name, but nothing should be said to them. "

To protect Holden from the onset of rain, Phoebe puts his red hunting hat on him, but not with the shield on the neck , as Holden always did, but the right way round: a sign that Holden has to accept normality and from his little one Sister is made into an adult, as it were. He overcomes his depression, wants to go back to school in September and is really happy for the first time.

reception

The Catcher in the Rye was first published on July 16, 1951. The paperback edition was published by Signet in 1953 and sold three and a half million copies within ten years. The world circulation at the same time was more than ten million.

At 277 English-language colleges and universities, the novel was included in the literary canon as “required or supplementary reading” ; A survey of English teachers in California revealed in 1962 that The Catcher in the Rye , universally regarded as "modern classic" (of all respondents "modern classic" has been classified) and placed at the head of the published novels since 1941.

William Faulkner described Salinger's novel as “the best one ... of this present generation of writing” and stated: “[T] his one expresses so completely what I have tried to say. ” (Eng. Roughly:“ This [novel] expresses so completely what I tried to say. ”). In Germany, Hermann Hesse and Heinrich Böll in particular praised Salinger's novel.

The open language and outspoken social criticism of the protagonist initially called "the prudish and communist hunters on the scene" and "conjured up some scandal". For a predominantly young readership, the rebellious Holden Caulfield became “the representative of the worries and longings of an entire nation”. In a short time, Salinger became an author with whom almost every well-known critic had to deal. Later on, some American literary critics spoke of a "Salinger Industry", some of them disapprovingly, and complained that "in the Salinger case, a literary sparrow was shot with critical cannons."

The book was also widely used and well received in the GDR . Günther Cwojdrak wrote in 1965 that it was a “wonderfully realistic parable ” of a boy who was disgusted by his greedy, heartless, cold society. In line with state doctrine , he said: “This book and its effects make us hope.” The book plays an important role in the story The new sufferings of the young W. von Ulrich Plenzdorf as a frequently mentioned and cited favorite reading of the main character of the story, Edgar Wibeau .

Today the catcher has established itself as a long seller with a quarter of a million specimens annually. It is referred to in countless literary works. Most famous, however, is probably the reference to The Catcher in the Rye by Mark David Chapman , the murderer of John Lennon . He carried the book with him on the day of the crime and said he identified himself with Holden Caulfield.

translation

The original first German translation is often ascribed to Heinrich Böll . However, this is only partially correct, as soon after the book was published in the USA (1951) the book was translated by the Swiss Irene Muehlon and was published under the title The Man in the Rye . However, this was not done using the original American version, but based on an already revised English version. In addition, the youthful language was not adopted in the form and entire text passages were completely deleted. In 1962 this German translation was "looked over" by Heinrich Böll after the rights were bought from a German publisher. He used the Penguin edition as a template for his work. In this, the editors of the British publisher had already made more than 800 changes to the text.

In the GDR, Volk und Welt published a licensed edition of the Kiepenheuer & Witsch edition in 1965 , illustrated by Werner Klemke and with an afterword by Erwin Pracht . Subsequent editions appeared from 1969 to 1985. This edition was published as a paperback by Verlag Philipp Reclam jun. Leipzig (Volume 498), then in a third, modified edition in 1988.

In 2003 Eike Schönfeld re- translated the original English text. The difference between the two old and the new translation is the orientation towards fundamentally different stylistic forms : While the former remained true to the current literary language, Schönfeld incorporated many elements of modern colloquial language into his text, as an intended balancing act between being faithful to the original and legibility in the Germans.

“I don't see Holden's language so much as a youth language, rather as a rather violent colloquial language. Therefore, and also in order not to make the book sound too 'new', I have deliberately avoided newer youth slang ('full of cool' etc.). "

- Eike Schönfeld in ReLÜ, 2014

Tried adaptations

Despite many attempts, there have been no films, sequels or adaptations of The Catcher in the Rye . The reason for Salinger's dislike is My Foolish Heart from 1949, the film adaptation of his short story Uncle Wiggely in Connecticut : With Dana Andrews and Susan Hayward in the lead roles, the filmmakers deviated significantly from Salinger's original and received largely poor reviews. In addition, the book is generally unsuitable for a film.

Soon after the release, well-known filmmakers such as Samuel Goldwyn and Billy Wilder tried to get the film rights. Salinger told Goldwyn that a film adaptation was only possible if he played the leading role. Billy Wilder remembered in conversations with Cameron Crowe how he wanted to make a movie out of it. “And then one day a young man came into the office of Leland Hayward , my New York agent, and said, please tell Mr. Leland Hayward to get fired. He's very, very insensitive. And he went away. That was his whole speech. I never saw him. That was JD Salinger and that was The Catcher in the Rye . "

Elia Kazan was refused permission to adapt the novel for the theater in 1961. In the recent past, Steven Spielberg and Harvey Weinstein have tried in vain to get the film rights.

On July 2, 2009, Salinger judicially prevented the publication of a sequel to the book entitled 60 Years Later: Coming Through The Rye penned by the Swedish writer and publisher Fredrik Colting , against whom Salinger alleged plagiarism . Colting's book was supposed to be about old Holden Caulfield in modern times.

Even after Salinger's death in 2010, there has not yet been any adaptation or continuation. However, a letter from Salinger from 1957 suggests that he thought a film could be made after his death if his family got into financial difficulties. The book is a kind of life insurance for his relatives.

expenditure

  • The man in the rye . Novel. German by Irene Muehlon, Diana, Stuttgart / Konstanz / [Zurich] 1954 DNB 454260423 (German language first edition).
  • The catcher in the rye . Kiepenheuer & Witsch, Cologne 1962 (revision of the German translation by Irene Muehlon by Heinrich Böll ) DNB 454260431 ; as paperback: Rowohlt (rororo 851), Reinbek 1966.
  • Der Fänger im Roggen , Kiepenheuer & Witsch, Cologne 2003, ISBN 3-462-03218-6 (currently available, newly translated edition by Eike Schönfeld ), as a paperback: Rowohlt (rororo 23539), Reinbek bei Hamburg 2004, ISBN 3-499 -23539-0 .

literature

  • Charlotte A. Alexander: J.D. Salinger's The Catcher in the Rye A Critical Commentary . Monarch Press n.d.
  • Eberhard Alsen: “The Catcher in the Rye” . In: Eberhard Alsen: A Reader's Guide to JD Salinger. Greenwood Press, Westport CT 2002, ISBN 0-313-31078-5 , pp. 53-77.
  • Matthias Bode: Explanations on Jerome David Salinger, Der Fänger im Roggen (The catcher in the rye). 2nd Edition. Bange, Hollfeld 2005, ISBN 3-8044-1743-4 ( König's explanations and materials 328).
  • Duane Edwards: Holden Caulfield: "Don't Ever Tell Anybody Anything". In: ELH. English literary history. Vol. 44, 3, 1977, ISSN  0013-8304 , pp. 554-565.
  • Peter Freese : Jerome David Salinger: Catcher in the Rye. In: Edgar Lohner (ed.): The American novel in the 19th and 20th centuries . Schmidt Verlag, Berlin 1974, ISBN 3-503-00515-3 , pp. 320–336.
  • Peter Freese: The Catcher in the Rye as an initiation travel novel . In: Peter Freese: T he Initiation Journey · Studies on the youthful hero in the modern American novel with an exemplary analysis of J. D. Salinger's 'The Catcher in the Rye' . Wachholtz Verlag Neumünster 1971, Kiel Contributions to English and American Studies, Vol. 9, pp. 178–281.
  • Bernd Günter: J. D. Salingers, The Catcher in the Rye (1951) . In: Peter Freese and Liesel Hermes (eds.): The novel in English lessons in upper secondary level II · theory and practice . Schöningh Verlag, Paderborn 1977, ISBN 3-506-74061-X , pp. 207-22.
  • Traudl Hoops, Wiklef Hoops: Salinger hour sheets > The Catcher in the Rye < . Klett Verlag, Stuttgart 1983, ISBN 3-12-925131-6 .
  • J. Opland (Ed.): Notes on J.D. Salinger's The Catcher in the Rye . Methuen Educational (Paperbacks) 1976, reprint 1977, ISBN 0-423-88980-X .

Web links

Wikisource: Comin 'Through the Rye  - by Robert Burns (English)

Remarks

  1. ↑ For the interpretative approaches presented here, cf. Eberhard Alsen: “The Catcher in the Rye” . In: Ders .: A Reader's Guide to JD Salinger . Greenwood Press, Westport 2002, pp. 53-77.
  2. ↑ For the details cf. Ursula Brumm : The Critique of the "American Way of Life" in Contemporary American Novels . In: Franz H. Link (Ed.): America · Vision and Reality, contributions to German research on American literary history. Athenäum Verlag, Frankfurt a. M. et al. 1968, pp. 456-469, here p. 461f.
  3. ↑ On this interpretation, cf. Edwards, Duane, Holden Caulfield: Don't Ever Tell Anybody Anything , The Johns Hopkins University Press 44 (1977), 554-565, http://www.jstor.org/pss/2872573 and: Ricky Werner, Queer Adolescence: (Homo) sexuality in Catcher in the Rye and The Bell Jar , eSharp, ISSN  1742-4542 , University of Glasgow, Issue 6 Vol. II (2006): abstract http://www.gla.ac.uk/departments/esharp /issues/6ii/issue6voliiabstracts/#d.en.43841 full essay http://www.gla.ac.uk/media/media_41188_en.pdf
  4. ↑ Quoted from JD Salinger, The Catcher in the Rye , Little, Brown and Company, New York, Boston, London 1991, p. 133.
  5. ↑ Quoted from JD Salinger, Der Fänger im Roggen , edited by Heinrich Böll, Reclam, Leipzig 1988, p. 188. In the original: “I'd have this rule that nobody could do anything phony when they visited me. If anybody tried to do anything phony, they couldn't stay ". Quoted from JD Salinger, The Catcher in the Rye , Penguin Books, London 1994, p. 184.
  6. ↑ Quotation from JD Salinger, Der Fänger im Roggen , translated by Heinrich Böll, Reclam, Leipzig 1988, p. 194.
  7. ↑ Peter Freese : JD Salinger's Nine Stories · An interpretation of the early Glass stories . In: Paul Gerhard Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 243 f.
  8. ↑ See Faulkner in the University: Class Conferences at the University of Virginia 1957-1958 , ed. By Frederick L. Gwynn and Joseph L. Blotner (Charlottesville 1959), p. 244. Here, quoted from Peter Freese : JD Salingers Nine Stories · An interpretation of the early Glass stories . In: Paul G. Buchloh et al. (Ed.): American stories from Hawthorne to Salinger · Interpretations. Kiel Contributions to English and American Studies Volume 6 . Karl Wachholtz Verlag, Neumünster 1968, p. 244 f. See also the references to Hesse and Böll there.
  9. ^ Peter Freese : Jerome David Salinger: Catcher in the Rye. In: Edgar Lohner (ed.): The American novel in the 19th and 20th centuries . Schmidt Verlag, Berlin 1974, ISBN 3-503-00515-3 , p. 320.
  10. ^ Peter Freese : Jerome David Salinger: Catcher in the Rye. In: Edgar Lohner (ed.): The American novel in the 19th and 20th centuries . Schmidt Verlag, Berlin 1974, ISBN 3-503-00515-3 , p. 320.
  11. ↑ See in detail Peter Freese : Jerome David Salinger: Catcher in the Rye. In: Edgar Lohner (ed.): The American novel in the 19th and 20th centuries . Schmidt Verlag, Berlin 1974, ISBN 3-503-00515-3 , p. 320f.
  12. ^ Günther Cwojdrak: Contours. Criticism and polemics . Mitteldeutscher Verlag, Halle / Leipzig 1982, Some sentences about Salinger, p. 121–123 (according to the blurb “Essays of World Literature” from 35 years).
  13. ↑ Marcel Reich-Ranicki , Der Fänger im DDR-Roggen , originally published in Die Zeit , May 4, 1973, p. 27, online .
  14. ↑ Archive link ( Memento from May 31, 2008 in the Internet Archive )
  15. ^ Review of the new translation in the taz
  16. ↑ Schönfeld : "Adieu, du Komischer Vogel", David Schahinian in ReLÜ , review magazine for literary translation, March 15, 16, 2014
  17. ↑ http://www.cbc.ca/arts/film/bartlett.html ( Memento from February 25, 2008 in the Internet Archive )
  18. ↑ Crowe, Cameron: Conversations with Wilder. (1999). ISBN 0-375-40660-3 . p. 299
  19. ↑ http://dailycaller.com/2010/01/29/why-jd-salinger-never-wanted-a-%E2%80%98catcher-in-the-rye%E2%80%99-movie/
  20. ↑ Volkskrant of July 2, 2009
  21. ↑ http://www.nydailynews.com/entertainment/music-arts/catcher-rye-finally-big-screen-salinger-letter-suggests-yes-article-1.193626