In chapter 16 of The Catcher in the Rye, Salinger switches up the relentless stream of negativity coming from Holden Caulfield. The night before had him up past dawn, alone in a sleazy hotel in Manhattan, recovering from a beating and grifting from an unscrupulous pimp and apparently contemplating suicide. His search for a “good conversationalist” has been frustrated—the cab drivers are either “touchy as hell” or indifferent to aimless queries about where the ducks go in the winter; the women from Seattle he meets at the Lavender Lounge are too obsessed with movie stars (and too prone to making cracks about Holden’s youth) to satisfy his desire for companionship; even the young prostitute, Sunny, who is being paid to spend time with Holden, isn’t interested in “just talking.” It’s becoming increasingly clear that our narrator is profoundly lonely and maybe even clinically depressed. And Holden tends to depict depression as something imposed upon him from the outside—people’s words, actions, and even clothing choices “depress the hell out of [him]” or “drive [him] crazy.” Holden isn’t “crazy”; he experiences depression as a (reasonable) response to the world around him, which is, well, depressing.
So as he walks around New York, Holden’s mood tends to get worse—the more people he sees, doing the kinds of things people do, the more depressed he gets. But in chapter 16 (and in fact starting in chapter 15, when he meets the nuns at breakfast), we start hearing a new refrain from Holden. He tells the nuns that he “enjoyed talking with them,” adding, “I meant it, too” (112). Then he sees “one nice thing”: a little kid walking along behind his parents, singing a song to himself while traffic squeals all around him. “The kid was swell,” Holden comments. “It made me feel better. It made me feel not so depressed any more” (115). He finds a rare record he’s been thinking of buying for his sister Phoebe, and this success “made [him] so happy all of a sudden” (116). He heads over to Central Park, thinking Phoebe might be there, but instead he meets a classmate of hers and helps her tighten her rollerskate. This, too, marks an improvement in his mood: “God, I love it when a kid’s nice and polite when you tighten their skate for them or something. Most kids are. They really are” (119).
Each of these surprisingly “happy” moments reveals a good deal about Holden’s value system—what he likes, to counterbalance so much that sickens and repulses him. A range of common denominators emerge: the unworldliness and genuineness of the nuns; the innocent indifference of the little kid to his parents, to the dangers of the traffic, and to the general fact that people don’t tend to walk down the street singing; and the overall “little-kidness” of the girl in the park, who reminds him of his beloved sister.
After the girl in the park politely declines his offer to join him for a cup of hot chocolate (how many strangers has Holden invited out for a drink at this point in the novel? For a misanthrope, he sure seems desperate for company!), Holden heads over to the Museum of Natural History (“the one where the Indians”), even though he’s pretty sure Phoebe won’t be there with her class, since it’s a Sunday. It becomes clear right away that this is something of a nostalgic trip for him. Central Park is his neighborhood, the turf where he spent much of his time as a kid, and he marvels throughout this chapter at all of the ways Phoebe is now doing so many of the things he used to do (“It’s funny. That’s the same place I used to like to skate when I was a kid” [118]). “I knew that whole museum routine like a book,” Holden remarks. “Phoebe went to the same school I went to when I was a kid, and we used to go there all the time” (119). He proceeds to recount his memories, not of any single visit to the museum, but a kind of composite montage of images from all the times he went there with his elementary classmates. It’s one of the longest paragraphs in the novel—it begins on page 119 and goes all the way into 122 in my edition. (One of the nifty “real-time” conceits of Salinger’s narrative style is that Holden tends to digress and reminisce during moments when the story affords him an opportunity—we get the sense of “time passing” on his walk because he shares with us what he was thinking about as he walks. He never simply says, “I walked until I got there.” It’s like we walk with him, listening all the while.)
And it’s clear that this digression, at least at the start, is a pleasant one—“I get really happy when I think about it,” Holden reports. “I loved that damn museum” (120). He recounts a bunch of evocative details, which for most readers will call up our own memories of elementary-school class trips. He doesn’t claim to have learned too much in terms of the substance of the museum’s exhibits, favoring instead his memories of the freedom from routine the kids enjoyed, the little mischief they would engage in (dropping marbles all over the floor), and the generally pleasant experience of simply being in the building surrounded by friends—“Nobody gave too much of a damn about old Columbus, but you always had a lot of candy and gum and stuff with you, and the inside of that auditorium had such a nice smell. It always smelled like it was raining outside, even if it wasn’t, and you were in the only, nice, dry, cosy place in the world” (120). This trip down memory lane really bolsters our sense of Holden as an essentially nostalgic and sentimental character; he idealizes childhood and laments the increasing distance he feels from this period of his life. Even the teachers and museum guards are “nice” when they correct the kids’ behavior (“She never got sore, though, Miss Aigletinger”; the security guard always reminds the kids not to touch anything, “but he always said it in a nice voice, not like a goddamn cop or anything” [120-21]).
This passage works on a couple of levels simultaneously. The museum, of course, functions as a link to our collective past (that of “natural history”); it literally preserves evidence of distant ways of life. And the museum itself functions as a site for Holden’s personal memories, an imagined repository for these distant experiences he now thinks about so fondly—it now represents his personal past as well as that of the Native Americans in the canoe. It’s as if he is looking at his own childhood in a glass case, as he contemplates these class trips years ago, and we see these two levels start to blur as the chapter comes to an end.
In a revealing moment, Holden comments that “the best thing . . . in that museum was that everything stayed right where it was. Nobody’d move” (121). The dioramas depict “life” frozen in place, and for reasons that are becoming increasingly clear, Holden finds this idea appealing. Because, even though the museum houses images of life arrested in progress, this very consistency serves as a reminder that the rest of us are emphatically not in “glass cases. While everything in the museum stays the same, “The only thing that would be different would be you” (121). The stasis of the museum diorama, paradoxically, helps dramatize the fact that the rest of life does not—cannot—“stand still.” And this is something that really bothers Holden Caulfield. “I kept walking and walking, and I kept thinking about old Phoebe going to that museum on Saturdays the way I used to. I thought how she’d see the same stuff I used to see, and how she’d be different every time she saw it. It didn’t exactly depress me to think about it, but it didn’t make me feel gay as hell, either” (122). Maybe Holden is glimpsing the fact that Phoebe is growing older, just as he is; they both are going to be adults before too long. Nothing stays the same, and those “nice” days at the museum will never come again for him. This reflection leads to one of the quintessential statements of Holden’s worldview: “Certain things they should stay the way they are. You ought to be able to stick them in one of those big glass cases and just leave them alone. I know that’s impossible, but it’s too bad anyway” (122). By the time he reaches the museum, sobered by these thoughts, he’s no longer in the mood to go inside. The last thing Holden needs now is another reminder of the inevitable passage of time.
Holden’s “impossible” wish—to stick “certain things” in a glass case to preserve them from decay, aging, change, and death—perfectly reflects his idealization of Allie (who will always remain static in Holden’s mind; he won’t grow up and disappoint him) and Jane (one of the reasons why he doesn’t go talk to her at Pencey, or call her; she’s “safer” in the diorama of Holden’s memories from two summers ago). Even the novel’s memorable final image—Phoebe circling around on the carousel, while Holden watches her from a rain-soaked bench—could be read in this light: the carousel, a quintessential child’s activity, represents a kind of stasis, “around and around” rather than moving purposefully in any direction. He is able to keep Phoebe suspended in childhood, for the moment, having stemmed her sudden premature development into a smaller version of himself (dragging a suitcase around, wearing his red hunting hat, talking rudely about quitting school and running away). A big part of Holden’s emotional distress has to do with the fact that he realizes this is an impossible wish, but he still can’t help but rage against the basic facts of life: nothing lasts, everything is transient, people die, even (especially?) young and good ones. There’s literally no solution to Holden’s dilemma; he either has to live with this knowledge, or cease to live.
Holden’s description of the dioramas themselves, these comforting images of life suspended, which are so reassuringly the same every time you visit—“You could go there a hundred thousand times, and that Eskimo would still be just finished catching those two fish, the birds would still be on their way south, the deers would still be drinking out of that water hole, with their pretty antlers and their pretty, skinny legs [like Phoebe’s!], and that squaw with the naked bosom would still be weaving that same blanket” (121)—always reminds me of the famous poem by the nineteenth-century romantic poet John Keats (who, incidentally, died in his mid-twenties),
"Ode on a Grecian Urn." In a nutshell, the speaker of Keats’s ode contemplates an ancient, illustrated Greek urn (the kind we see most often in museums), and seeing its scenes of everyday life (a young guy singing to a girl, a cow being led to ritualistic slaughter, a town seemingly empty of people) as a mystical form of communication between ancient past and present, and also a reminder of the transience of all life (“when old age shall this generation waste / Thou shalt remain”). The speaker zeroes in on the young lovers depicted on the urn, almost imagining them as sentient beings who “know” that they’re frozen on the urn for all eternity: “Fair youth, beneath the trees, thou canst not leave / Thy song, nor ever can those trees be bare; / Bold Lover, never, never canst thou kiss, / Though winning near the goal.” At first glance, this might seem like a bummer—a form of torture, to be forever stuck in the moment
just before a kiss, never to come together. But Keats looks at it another way: “yet, do not grieve; / She cannot fade, though thou hast not thy bliss / Forever wilt thou love, and she be fair!” You may not ever “have thy bliss,” he says to the young lover, but at least you’ll always love with this same intense ardor, and she will always be beautiful! And the reader reflects how, indeed, they are preserved here on this urn for Keats to contemplate fifteen hundred years later (and now
we contemplate them again via Keats’s poem, written two hundred years ago, and the cycle continues).
In other words, art achieves a kind of immortality. Holden’s dream—to “put things in a glass case”—can sort of be accomplished by art. In some ways, the intense anticipation of a kiss is better than the kiss itself, Keats seems to suggest. Beauty fades, but in the famous final line of the poem, beauty is also “truth”—and art can achieve this “truth” by preserving beauty “eternally” (or at least far beyond the individual artist’s lifetime, as the urn represents).
Rereading this novel every couple of years for my entire adult life—revisiting Holden’s strange odyssey through Manhattan, again and again—has led me to think about how the book itself works as a kind of Grecian Urn. The “moments” Holden is reliving here can be revisited over and over. The characters stay the same. Holden is always a restless and moody teenager. Phoebe is always a 10-year-old girl. Allie is always dead, but our image of him—drawn in Holden’s concise and evocative vignettes—is as alive as any of the characters in the novel. Art resists transience; it represents a way of “sealing off” a period of time, a set of events, or a person at a point in his or her life. And this counts for the author as well as the characters; we’re also always looking at a portrait of J. D. Salinger around 1948-50 when we read this novel. He died eleven years ago, and here I am thinking hard about words he wrote more than sixty years ago. You can achieve a kind of “immortality” with the right poem or novel.
This is in many ways a bittersweet realization—as with Holden, I can’t help but reflect that I too am “different” each time I come back to the novel, and the period of life Holden is grappling with (which I was in the midst of when I first encountered the novel at age seventeen) is increasingly distant to me (although the memories all feel very close). I revisit my own adolescence whenever I read Catcher—not only through identifying with Holden, but simply by visiting the “museum” again that I first visited as a teenager—but I also think of previous times I’ve taught the novel, here and at the University. I start to feel nostalgic for a particular class I had ten years ago, in addition to feeling nostalgic for the world I inhabited when I first read the novel. (And all of this is compounded by Holden’s own relentless nostalgia.) It’s always weirdly sad to realize that Phoebe would be in her eighties today, this eternally sharp, sweet, emotionally mature 10-year-old. There’s a weird kind of comfort in the fact that Holden has put her into his own “Grecian urn” in this novel; she’s always the same memorable little kid each time we come back to the book.