J. D. Salinger wrote one of the most famous books ever written, The Catcher in the Rye. Salinger wrote many stories and, in 1941, after several rejections, Salinger finally cracked The New Yorker, with a story, "Slight Rebellion Off Madison," that was an early sketch of what became a scene in "The Catcher in the Rye." The magazine then had second thoughts in part because of World War II in which Salinger was in combat, and held the story for five years before finally publishing it in 1946, buried in the back of an issue. Everyone was surprised when the story and the book that followed it became a bit hit. Even today nobody can really explain why Catcher in the Rye is so famous and so popular. Yet, millions have been sold and are still being sold even though only available as used books nowadays. When The Catcher in the Rye was published in 1951, it was registered for copyright as "additional material." This obviously referred to the earlier work "Slight Rebellion Off Madison." The copyright page on "The Catcher in the Rye" states "Copyright 1945, 1946, 1951 by J. D Salinger." The date of 1945 obviously refers to the publication of "I'm Crazy," a short story written by Salinger and published in the December 22, 1945 issue of Collier's magazine that first introduced the character Holden Caulfield to the reading public. Salinger later reworked this short story to incorporate it into The Catcher in the Rye. The two earlier stories are "I'm Crazy," an early version of Holden's departure from prep school that later shows up in The Catcher in the Rye. With minor alteration, much of this story is familiar to readers as the chapter where Holden visits Mr. Spencer. What sets this story apart is the presence of an additional Caulfield sister and the clarity of Holden's resignation and compromise at the end. "Slight Rebellion off Madison" is an early version of another scene in The Catcher in the Rye. The story follows Holden when he is home from Pency and goes to the movies, then skating with Sally Hayes, followed by his drunken calls to her apartment late at night. An early story, it is the first of Salinger's Caulfied works to be accepted for publication.
Jerome David Salinger (/ˈsælɪndʒər/; January 1, 1919 – January 27, 2010) was an American writer known for his widely-read novel The Catcher in the Rye. Following his early success publishing short stories and The Catcher in the Rye, Salinger led a very private life for more than a half-century. He published his final original work in 1965 and gave his last interview in 1980.
Salinger was raised in Manhattan and began writing short stories while in secondary school. Several were published in Story magazine[1] in the early 1940s before he began serving in World War II. In 1948, his critically acclaimed story "A Perfect Day for Bananafish" appeared in The New Yorker magazine, which became home to much of his later work. The Catcher in the Rye was published in 1951 and became an immediate popular success. His depiction of adolescent alienation and loss of innocence in the protagonist Holden Caulfield was influential, especially among adolescent readers.[2] The novel remains widely read and controversial,[a] selling around 250,000 copies a year.
The success of The Catcher in the Rye led to public attention and scrutiny. Salinger became reclusive, publishing new work less frequently. He followed Catcher with a short story collection, Nine Stories (1953); a volume containing a novella and a short story, Franny and Zooey (1961); and a volume containing two novellas, Raise High the Roof Beam, Carpenters and Seymour: An Introduction (1963). His last published work, a novella entitled "Hapworth 16, 1924", appeared in The New Yorker on June 19, 1965. Afterward, Salinger struggled with unwanted attention, including a legal battle in the 1980s with biographer Ian Hamilton and the release in the late 1990s of memoirs written by two people close to him: Joyce Maynard, an ex-lover; and Margaret Salinger, his daughter. In 1996, a small publisher announced a deal with Salinger to publish "Hapworth 16, 1924" in book form, but amid the ensuing publicity the release was indefinitely delayed.[3][4] He made headlines around the globe in June 2009 when he filed a lawsuit against another writer for copyright infringement resulting from that writer's use of one of the characters from The Catcher in the Rye.[5]
Salinger died of natural causes on January 27, 2010, at his home in Cornish, New Hampshire.[6][7][8] In November 2013, three unpublished stories by Salinger were briefly posted online. One of the stories, "The Ocean Full of Bowling Balls", is said to be a prequel to The Catcher in the Rye.
我译的《麦田里的守望者》(下称《麦田》)终于由译林出版社出版,就像我在“译者后记”中所言,这让我有种“圆满”的感觉。从我译完这本书的最后一个字到现在正式出版,已是近八年的时间了,回想起来,多少有点唏嘘之感。 塞林格的《麦田》影响了许多代人,于我也有着特殊的...
评分霍尔顿如果不是个少年,而是个中老年人,那他可真烦人。《麦田守望者》里的这位主人公,看什么都不顺眼。他讨厌学校,讨厌同学,讨厌父母。他甚至讨厌那些喜欢说“祝你好运”的人,以及那些说“很高兴认识你”的人,以及在钢琴演奏中瞎鼓掌的人。他当然还讨厌数学物理地理历史...
评分今天早上起来上网看到塞林格去世的消息,便在“豆瓣我说”上说了这样一段话:早上打开电脑上网才知道塞林格去世了,恰巧电脑边摆着的书就是《麦田里的守望者》,这本书我已经反反复复读了十几遍了,相信以后还会一遍一遍地读下去。塞林格去了天堂就不用在悬崖边守望了吧,因为...
评分大学之前我一直自诩好孩子,非常非常不喜欢霍尔顿,或者说,不喜欢他满嘴脏话的样子。相信一些女生也是讨厌这样坏坏的男孩子的,在校园里遇见了,会躲着走。可是现在不同了,现在我一想起他的样子,就会会心一笑,虽然我并没有见过他。但书里说了,霍尔顿顶着一头乱乱的褐色...
评分这是一部充满回响的作品,即便你已经脱离了主人公所处的年龄段很久,书中的某些情绪碎片依然能在你心底激起共鸣。它最成功的地方,或许在于它没有试图解决任何问题,反而将所有悬而未决的困惑和痛苦直接抛给了读者。它捕捉到了一种普遍存在的“疏离感”——我们都曾在某个瞬间,觉得自己是局外人,觉得周遭的一切都带着一层不真实的塑料光泽。主角对纯洁事物的执着(比如他对孩子们的某种期待),与他对成人世界虚伪的鄙夷形成了强烈的张力。这种内在的拉扯,让故事充满了戏剧张力,尽管外在行动可能并不多。它不是一本关于“做了什么”的书,而是关于“感觉如何”的书。读毕之后,你不会感到被治愈,更多的是一种被深刻理解后的沉默,仿佛作者用最简单、最直接的方式,写下了我们都曾藏在心底却不愿言说的秘密。
评分这部作品,说实话,初读时真让人有点摸不着头脑。它没有那种宏大叙事的史诗感,也没有跌宕起伏的传统情节。更像是一次漫长、有些迷茫的内心独白,用一种非常口语化、近乎于絮叨的语气,将我们拉进了一个年轻人的思绪风暴里。主人公的视角是如此的纯粹而又带着一股子不加掩饰的尖酸刻薄,他对周围世界的“做作”和“虚伪”表现出一种近乎歇斯底里的排斥。我尤其欣赏作者对青少年心理状态的捕捉,那种介于童真未泯和渴望成熟之间的摇摆不定,那种对成人世界的格格不入感,读起来让人感同身受,仿佛又回到了自己那个对一切都充满质疑的年纪。那些关于学校、关于友谊、关于爱情的片段,虽然看似琐碎,却精准地勾勒出了青春期特有的焦虑与敏感。它不是一本用来消遣的书,它更像一面镜子,让你不得不直视那些你可能已经遗忘或试图掩盖的内心角落。阅读的过程,更像是在陪伴一个脾气古怪的朋友进行一次深夜长谈,你可能不同意他的所有观点,但你无法否认他声音中的那份真实与痛苦。
评分我总觉得,这本书的魅力在于它的“不完美”。它拒绝被归类,拒绝被过度解读,它就是那么直接地摆在那里,带着一种近乎鲁莽的坦诚。与那些经过精心雕琢、结构严谨的小说不同,这里的叙述是流动的、跳跃的,充满了内在的矛盾。你看着主人公在纽约的街头游荡,观察着形形色色的人,心里盘算着各种逃离的念头,那种无处安放的能量,那种对“纯粹”近乎偏执的追求,让人读得又急又气,但也忍不住想知道他下一刻会做出什么惊人之举。它探讨的主题非常深刻,尽管语言如此朴素。它关乎身份的构建,关乎如何在日益复杂的社会规则中保持自我,以及那种对失去纯真的本能恐惧。它不是在提供答案,而是在提出问题,那些尖锐的问题,直指人心,迫使读者也去反思自己是如何看待这个“假冒伪善”的世界的。读完后,那种感觉像是一场酣畅淋漓的争吵后的疲惫与释然交织在一起。
评分初次接触时,我被其独特的叙事腔调震慑住了。这完全不同于我们习惯阅读的那些“标准”的文学语言。它充满了俚语、口头禅,以及那些只有在私下里才会吐露的心声。这种第一人称的、毫无保留的倾诉,构建了一种极强的沉浸感。你感觉自己不是在阅读一个故事,而是在窃听一个极其私密的日记,或者说,你就是那个唯一能理解主人公内心挣扎的人。这种叙事策略使得角色形象异常立体,他的愤怒、他的脆弱、他对美好事物的向往,都通过这种未经修饰的语言流淌出来,真实得令人心疼。它成功地捕捉了一种特定的时代精神和一代人的心境,那种对既有秩序的反叛,那种对真正联系的渴望。这种文字的力量在于它的“去修饰化”,它让你相信,这就是一个人在那个特定时刻的真实想法,没有为取悦读者而做任何妥协,这本身就是一种强大的文学姿态。
评分这本书给我的整体体验是,它像一场在寒冷天气里,穿着单薄衣服,在城市里漫无目的地游荡。你感到寒冷,感到孤独,但你又沉浸在这种“被放逐”的状态中,享受着这份与众不同的清醒。它对“成人世界”的批判,并非空穴来风式的抱怨,而是基于他对人与人之间交流的细致观察。他所反对的,是那种程式化的社交礼仪,是那些为了维持表面的和谐而不得不戴上的面具。这种对真实性(Authenticity)的追求,构成了全书的核心驱动力。我欣赏作者对情绪层次的微妙处理,主人公时而显得愤世嫉俗,时而又流露出孩子气的善良和保护欲,这种对比使得人物的复杂性达到了极高点。阅读它,就像试图理解一块结构极其复杂、但又无比坚硬的矿石,需要耐心去触摸它的每一个棱角,才能领会它内在的光泽和密度。
评分我虽生活在这个世界,却不属于这个世界 读于22岁生日
评分和“麦田”没半毛钱关系。有人把《钟形罩》形容为女性版《麦田里的守望者》,其实读这两本书的感觉是大大不同的。最主要的一点区别,前一部越读越绝望,而这一部读到最后却读出了希望。几乎每个人都经历过Holden这个阶段吧,至少我有,希望我们都能像文末在雨中的Holden一样能够豁然开朗。
评分果然是英国专属版本
评分Big fan of Salinger & his bananafish & his Holden.
评分So damn humorous and genius. Salinger talks a lot about his values through the babbles of a depressed messy teenager, making it a fantastic long talk show of great insight. It becomes one of my favorite books.
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