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By Stephen J.; Wallace, Daniel; Ling, Josh Sansweet

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Anakin Skywalker the Story of Darth Vader

Ultimately, Threepio will get the tribute he merits during this unique, constrained variation illustrated hardcover publication and particular huge collector determine.

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Creating, instead of individualism, a mass-produced mask of individuality” (295). The result is a generation of “automatons” (16), to use Erich Fromm’s word, for whom the usual qualities of surface and depth have been reversed. Unlike Holden’s phonies, who are superficially conformist and internally individual, Erikson’s overadjusted adolescents are outwardly individual (wearing individuating “masks”) and uniform (or “standardized”) within. Erikson’s work was central to the theorization of adolescence that developed in the years after World War II, the years in which the teenager and youth culture became an increasingly omnipresent cultural phenomenon.

However, The Catcher in the Rye departs from the genre of the classical bildungsroman by openly rejecting that genre’s project of internalization. In so doing, Salinger’s novel rejects as well one of the central tenets of the classical bildungsroman: the “idea of a gradual growth, a few steps at a time” (Moretti 46). In this sense the novel resembles more closely the late or counter-bildungsroman, works like Joyce’s The Portrait of the Artist as a Young Man (1914) that were written in the years surrounding the First World War.

Knowing oneself is useful as a guide to authentic behavior only if who one is does not constantly change. For this reason, novels about adolescence emerge as key vehicles for considering these variables, because such novels presume a self that is under constant revision. Where The Catcher in the Rye might be said to depart from these generic formulations lies in its fundamental understanding that, during the period, these problems are not only the problems of adolescence — that they are part of what is conceived to be the nature of selfhood as such.

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