New book takes up the old hunt to demystify J.D. Salinger
08/31/2013 10:04 PM
08/08/2014 10:18 AM
“Salinger” by David Shields and Shane Salerno (Simon & Schuster, 698 pages, $37.50)
In the J.D. Salinger story “Zooey,” the title character’s mother says of him and his brother: “Neither you nor Buddy know how to talk to people you don’t like,” adding: “You can’t live in the world with such strong likes and dislikes.”
This was true, too, of the famously reclusive Salinger, who retreated to Cornish, N.H., the small town where he lived in seclusion for more than a half-century. His alienation from the world and his mania for privacy became part of the Salinger myth — a myth that David Shields and Shane Salerno attempt to pierce in their revealing but often slapdash new book, “Salinger.”
Salinger stopped publishing decades ago (his last story to appear in print, “Hapworth 16, 1924,” came out in the June 19, 1965, issue of The New Yorker magazine), but, by some reports, he continued to write nearly every day.
In “Salinger,” Salerno and Shields assert that Salinger, who died in January 2010 at 91, left instructions “authorizing a specific timetable” (starting between 2015 and 2020) for the release of unpublished work, including five new Glass family stories; a novel based on his relationship with his first wife, Sylvia Welter, a German he married shortly after World War II; a novella in the form of a counterintelligence officer’s diary entries during the war; a story-filled “manual” about the Vedanta religious philosophy; and new or retooled stories fleshing out the story of Holden Caulfield, known to generations of readers from “The Catcher in the Rye,” the novel that made its creator famous in 1951 as the voice of adolescent angst. The authors of “Salinger” attribute details of these plans to two anonymous sources described as “independent and separate.”
The sharp-edged portrait of Salinger that Shields and Salerno draw in this book is that of a writer whose “life was a slow-motion suicide mission” — a man who never recovered from the horrors of wartime combat and the soul-shaking sight of a Nazi death camp filled with burned and smoldering corpses. Salinger, they argue, tried to grapple with his post-traumatic stress disorder first with art and later with religion: “The war broke him as a man and made him a great artist; religion offered him postwar spiritual solace and killed his art.”
This reductive diagnosis of Salinger’s “condition” is accompanied by pages and pages of testimony about how his youthful arrogance (one friend said he dismissed “Dreiser through Hemingway” as “all inferior” writers) and disaffection with his parents’ bourgeois world calcified, after the war, into a deep antipathy, even repugnance for most worldly things and ideas. Eventually, that contempt infected many of his closest relationships, and as depicted in these pages, an observant, Holden-like young man evolves over the years into a blinkered and condescending curmudgeon who is frequently guilty of the same sort of phoniness or hypocrisy his characters so deplored.
Salinger’s family, the authors say, had to compete for his attention with the fictional characters he’d created. One scholar quoted here says that when Salinger went off to his writing bunker, he gave “strict orders that he was not to be disturbed for anything unless the house was burning down.” What’s more, as he retreated from the world, his writing grew increasingly solipsistic and hermetic, his mastery of the vernacular giving way to more and more abstract language.
“Story by story,” Salerno and Shields observe, “from ‘Teddy’ forward, Salinger’s work moves from religion as a factor or even a crutch in his characters’ lives, to religion as the only thing in their lives that matters, to the work’s entire purpose being to cryptically convey religious dogma.”
“Salinger,” self-promotingly described on its cover as “The Official Book of the Acclaimed Documentary Film,” is not a conventional biography but a kind of companion volume to Salerno’s documentary of the same name (to be released Friday). The book takes a montagelike form: Excerpts from interviews, snippets from books and newspaper articles, letters and photos (some new) and photocopies of documents have all been assembled along with the authors’ own remarks into a sprawling, cut-and-paste collage.
Although Salerno has done an energetic job of finding sources and persuading them to talk — he says he interviewed more than 200 people over nine years — numerous entries in this volume have been taken not from new interviews but from earlier books and articles, sometimes with and sometimes without real context. Shields offered a defense of this sort of approach in his 2010 book, “Reality Hunger,” which embraced the validity of “recombinant,” or appropriation, art.
This can make for sloppy scholarship with a lot of hedges like “probably thought,” “would have understood” and “might have been,” as well as outright speculation — sometimes by the authors themselves. Shields and Salerno even suggest that “Catcher” in some way played a role in the killings of John Lennon and the young actress Rebecca Schaeffer, and the attempted assassination of Ronald Reagan. These terrible acts, the authors write, “are not a coincidence; they constitute frighteningly clairvoyant readings of ‘Catcher’ — the assassins intuiting the underlying postwar anger and violence in the book.”
Attempting to identify patterns in Salinger’s life and art, Salerno and Shields quote sources who note his compulsion to try to control the lives of those closest to him and his appreciation of fiction as a way to orchestrate his fantasies. Innocence and nostalgia, they remind us, were recurring themes in his work, and they suggest that these preoccupations — not unlike his fondness for old-fashioned television like “The Lawrence Welk Show” — represented a desire to turn back the clock, to retreat to the past (before the war, before his hospitalization for “battle fatigue,” before his psyche was horribly scarred).