Theme Of Paradoxes In Catcher In The Rye - 841 Words

Paradoxes, in literature, are often employed by writers to emphasize the themes. Their true nature could be rather confusing, as they could be used in many ways. However, when analyzed at their fundamental levels, it is noted that paradoxes convey more profound ideas. Similarly, in The Catcher in the Rye, J.D. Salinger’s use of Holden’s paradoxes that overarch the entire novel emphasizes the apparent theme of identity by pointing out Holden’s problems and struggles. Salinger attempts to evince societal effects of an individual’s behaviors to the readers. Throughout the novel, Holden attempts to find the true from of himself as he struggles with the social interactions around him. Due to the struggle and confusion that arouses from it,†¦show more content†¦It is quiet tragic for Holden, for he has to act composed and â€Å"cool† despite his somber resulting from the destruction of his symbol of childhood memories, which essentially contribute to his real identity. Holden is the biggest hater of phonies, and at the same time, he is the biggest phony in the novel. In this novel, being phony is somewhat equivalent to being an adult. Holden wants to be seen like an adult. For this reason, he smokes and drinks heavily, and goes as far as being involved with prostitution. For people like Stradlater and adults, these are rather normal from their perspective. However, for Holden, they become paradoxes, as he absolutely loathes phoniness. Nearly all aspects of society, including movies, matinees, people’s behaviors, and even simple social interactions like conversations, are criticized by Holden for being phony. For example, during his date with Sally, Sally’s conversation with a guy they met at the matinee â€Å"killed [Holden]†¦it was the phoniest conversation you ever heard in your life† (Salinger 127). In a hope to make Sally understand his views on phonies, Holden says, â€Å"‘Take cars,’†¦ ‘I don ’t even like old cars. I mean they don’t even interest me. I’d rather have a goddam horse. A horse is at least human, for God’s sake’† (Salinger 130). Then again, Holden becomes the phoniest person shortly after. He asks Carl Luce,