Posts Tagged ‘The Catcher in the Rye’
March 27, 2014 | by Sadie Stein
There are certain places—mostly playgrounds—that post signs advising visitors that no unaccompanied adults will be admitted without a child escort. Sometimes, these are practical concerns: jungle gyms and ball pits are not made to bear a grownup’s weight. (This is to say nothing of creeps.) But maybe they are also meant to give kids a sense of specialness in a grown-up world.
There should be far more of these signs. In fact, they should be expanded to include “No unaccompanied adults on grounds of preserving their dignity” and “No unaccompanied adults on grounds of Baby Jane–style macabreness.” Signs for both these categories would bar adult entry to petting zoos; most merry-go-rounds, with special dispensation for the kind with brass rings; and any restaurants clearly intended primarily for little girls. (These prohibitions sort of apply to groups of wild teenagers who scare little children, but of course they know exactly what they’re doing and run the world.) It is not that I don’t understand a need for nostalgia and childlike wonder. But over the weekend—while I was accompanied by young children, may I add—I saw a young French woman texting as she rode the Central Park Carousel, so. Read More »
January 7, 2014 | by Dan Piepenbring
June 27, 2013 | by Sadie Stein
October 4, 2011 | by Lauren O'Neill-Butler
Shannon Ebner is a Los Angeles–based artist known for using handmade letters, symbols, signs, and other means of representation to call attention to the limits and loopholes of language. Photographs and sculptures from her new project, “The Electric Comma,” are featured in the 54th Venice Biennale and in a solo show at the Hammer Museum in Los Angeles. Two new public sculptures, both titled and, per se and, accompany these shows and are installed, respectively, on the Grand Canal in Venice and in Culver City. Audiences in L.A. can see the eight-foot-tall solar-powered work on the northeast corner of Centinela Avenue and Washington Boulevard until October 14. Ebner’s pictures of “anti-places” and “anti-landscapes” (for instance, dust from emergency road flares that appears to spell out a word) are on view at the Hammer until October 9.
In the essay she wrote to accompany your exhibition at the Hammer, curator Anne Ellegood describes your work as “manifestly American.” How does American identity relate to your recent pictures, and how does landscape figure in?
Robert Smithson once asked if Passaic, New Jersey had replaced Rome as the eternal city, with buildings that rise into ruin rather than fall. It makes me realize that my interest in landscape—for instance, in the work of an artist like Joe Deal, who made pictures from an elevated vantage point, with his camera high up on a bluff or hillside looking down at tract-housing neighborhoods—has to do with this idea of falling while rising. I think that there is a connection between Salinger’s Catcher in the Rye and Deal’s vantage point. It seems to say that there could be some redemption, some possibility that the kids of those tract-housing communities could be saved from being an American, from rising to fall or, I guess I should say, rising to fail.
February 7, 2011 | by Blair Fuller
In the winter of 1952, I received a telephone call from my mother, Jane Canfield. There was to be an evening party at my parents’ house on Thirty-eighth Street, she told me. “A Harper’s party,” she added, Harper’s being the publishing house of which Cass, my step-father, was chairman. My mother said that I would be a welcome guest and that my younger sister, Jill, and her husband, Joe Fox, were expected.
I had graduated in June the previous year, delayed by two years in the Navy, at the end of World War II, and another year as a student in France. I wanted to be a writer. The Harvard Advocate had published a short story of mine. In Archibald MacLeish’s writing workshop I had started to write a hopeless novel, and had continued to its uninteresting conclusion months after graduating. Now I was a marketing trainee with the Texas company Texaco and would be posted to West Africa in the summer. These were my last months in New York.
My mother continued, “Someone that I know you admire has accepted—J. D. Salinger.”
I told her I would most certainly come.
The Catcher in the Rye had come out the year before. I had read it with enthusiasm but not with the extreme admiration I felt for his short stories in The New Yorker. They seemed to me matchless in their vividness, especially in conveying his characters’ subtle and complex emotions.
When I arrived that evening, Mary, the maid, was waiting at the door to take the guests’ overcoats, and I could see that the house was as finely turned out as it could be: flowers in the vases and the antique furniture shining. “The bar is on the porch,” Mary told me.
I got a drink and joined Jane and Cass in the living room with “Mac” MacGregor, Harper’s editor-in-chief. Soon Jill and Joe arrived, and for a short time it was a mostly family party. Then, nearly all at once, the thirtysome others crowded in, Salinger among them.
A headshot of him had appeared on the Catcher book jacket—dark hair slicked back above a longish, handsome face. This night he was well dressed in a suit with a faint glen plaid pattern, a white shirt whose collar was secured behind the knot of his necktie by a gold collar pin. His cufflinks caught the light. Why did his elegance surprise me?