首頁>> 文學>> 青春校园>> 羅姆·大衛·塞林格 Jerome David Salinger   美國 United States   現代美國   (1919年元月1日2010年元月27日)
麥田裏的守望者 The Catcher in the Rye
  《麥田裏守望者》又名《麥田捕手》,是一種另類生活經驗在文本上體現,它源於無敵青春,源於青春躁動,也源於青春不安和睏惑,若能以王朔痞子式語言風格來翻譯,也許,更能還這本書原來面目和語言魅力,更加契合與傳神。小說以細膩筆觸描寫了一個中産階級子弟苦悶、彷徨精神世界,真實地揭露了資本主義社會精神文明實質。全文都是以一個青年口吻進行敘述,讓人讀來親切感人而真實。
  本書主人公霍爾頓是個中學生,出身於富裕中産階級家庭。他雖衹有16歲,但比常人高出一頭,整日穿着風雨衣,戴着鴨舌帽,遊遊蕩蕩,不願讀書。他對學校裏一切——老師、同學、功課、球賽等等,全都膩煩透了,3次被學校開除。又一個學期結束了,他又因5門功課中4門不及格被校方開除。他絲毫不感到難受。在和同房間同學打了一架後,他深夜離開學校,回到紐約城,但他不敢貿然回傢。當天深夜住進了一傢小旅館。他在旅館裏看到都是些不三不四人,有穿戴女裝男人,有相互噴水、噴酒男女,他們尋歡作樂,忸怩作態,使霍爾頓感到惡心和驚訝。他無聊之極,便去夜總會廝混了一陣。回旅館時,心裏仍覺得十分煩悶,糊裏糊塗答應電梯工毛裏斯,讓他叫來了一個妓女。妓女一到他又緊張害怕,最後按講定價格給了五塊錢,把她打發走了。
  
  第二天是星期天,霍爾頓上街遊蕩,遇見兩個修女,捐了10塊錢。後來他女友薩麗去看了場戲,又去溜冰。看到薩麗那假情假義樣子,霍爾頓很不痛快,兩人吵了一場,分了手。接着霍爾頓獨自去看了場電影,又到酒吧裏和一個老同學一起喝酒,喝得酩酊大醉。他走進厠所,把頭伸進盥洗盆裏用冷水浸了一陣,纔清醒過來。可是走出酒吧後,被冷風一吹,他頭髮都結了冰。他想到自己也許會因此患肺炎死去,永遠見不着妹妹菲芘了,决定冒險回傢和她訣別。
  
  霍爾頓偷偷回到傢裏,幸好父母都出去玩了。他叫醒菲芘,嚮她訴說了自己苦悶和理想。他對妹妹說,他將來要當一名“麥田裏守望者”:“有那麽一群小孩子在一大塊麥田裏做遊戲。幾千幾萬個小孩子,附近沒有一個人——沒有一個大人,我是說——除了我。我呢,就在那混帳懸崖邊。我職務是在那兒守望,要是有哪個孩子往懸崖邊奔來,我就把他捉住——我是說孩子們都在狂奔,也不知道自己是在往哪兒跑。我得從什麽地方出來,把他們捉住。我整天就幹這樣事。我衹想當個麥田裏守望者。”後來父母回來了,霍爾頓嚇得躲進壁櫥。等父母去臥室,他急忙溜出傢門,到一個他尊敬老師傢中藉宿。可是睡到半夜,他發覺這個老師有可能是個同性戀者,於是衹好偷偷逃出來,到車站候車室過夜。
  
  霍爾頓不想再回傢,也不想再念書了,决定去西部謀生,做一個又聾又啞人,但他想在臨走前再見妹妹一面,於是托人給她帶去一張便條,約她到博物館藝術館門邊見面。過了約定時間好一陣,菲芘終於來了,可是拖着一隻裝滿自己衣服大箱子,她一定要跟哥哥一起去西部。最後,因對妹妹勸說無效,霍爾頓衹好放棄西部之行,帶她去動物園和公園玩了一陣,然後一起回傢。回傢後不久,霍爾頓就生了一場大病。整部小說是以回憶方式寫
  《麥田裏守望者》-作者
  
  《麥田裏守望者》作者
  
  傑羅姆·大衛·塞林格出生於紐約一個猶太富商家庭,他在15歲時就被父親送到賓夕法尼亞州一所軍事學校。1936年塞林格從軍事學校畢業,1937年又被做火腿進口生意父親送到波蘭學做火腿。塞林格在紐約時候就開始嚮雜志投稿,其中大部分都是為了賺錢,但也不乏一些好文章,其中包括了《香蕉魚好日子》。
  
  二戰中斷了塞林格寫作。 1942年塞林格從軍,1944年他前往歐洲戰場從事反間諜工作。戰爭令塞林格恐懼,他之後寫了多本以戰爭為題材書。
  
  1946年塞林格退伍,回到紐約開始專心創作。他第一本長篇小說《麥田裏守望者》1951年出版,獲得了很大成功,塞林格一舉成名。他之後作品包括了《弗蘭尼與卓埃》(1961年)、《木匠們,把屋梁升高》和《西摩:一個介紹》(1963 年)和收錄了他短篇故事《九故事》(1953年),但都不像《麥田裏守望者》那麽成功。塞林格擅長塑造早熟、出衆青少年形象。
  
  《麥田裏守望者》獲得成功之後,塞林格變得更孤僻。他在新罕布什爾州鄉間河邊小山附近買下了90多英畝土地,在山頂上建了一座小屋,過起了隱居生活。他雖然從未放棄寫作,但他在1951年之後,就很少公開出版自己作品。他後期作品也越來越傾嚮於東方哲學和禪宗。
  
  塞林格在歐洲期間曾經與一個女醫生結婚,但不久便離異。1953年他與一個叫剋萊爾·道格拉斯(Claire Douglas)女學生相識,兩人後來在1955年結婚,但是後來又離婚。1972年塞格林在一本雜志上看到一個名叫喬伊斯·梅納德(Joyce  Maynard)耶魯大學女學生文章和照片,立即被她吸引,兩人開始通信。兩人關係在十個月後破裂。
  
  1999年,塞林格在34年沒有發表任何作品後終於發表了新長篇小說《哈普沃茲16,1924》。《哈普沃茲16,1924》最早是以短篇形式出現在1965年《紐約時報》上。塞林格將這部作品授權一個小出版公司,但是到現在他作品都還沒有出版。
  
  2000年,塞林格與第二任妻子剋萊爾·道格拉斯女兒瑪格麗特·塞林格出版了《夢守望者:一本回憶錄》一書。書中她披露了很多塞林格不為人知秘密,像塞林格經常喝自己尿、很少和剋萊爾做愛,禁止她走訪親友等。
  
  2010年1月27日,傑羅姆·大衛·塞林格在位於美國新罕布什爾州傢中去世,享年91歲。
  《麥田裏守望者》-賞析
  
  霍爾頓理想——“有那麽一群小孩子在一大塊麥田裏做遊戲。幾千幾萬個小孩子,附近沒有一個人——沒有一個大人,我是說_-----除了我。我呢,就站在那混帳懸崖邊。我職務是在那兒守望,要是有哪個孩子往懸崖邊奔來,我就把他捉住——我是說孩子們都在狂奔,也不知道自己是往哪兒跑,我得從什麽地方出來,把他們捉住。我整天就幹這樣事。我衹是想當個麥田裏守望者。”
  《麥田裏守望者》-影響
  
  《麥田裏守望者》一問世,霍爾頓這個對虛偽深惡痛絶少年形象竟然被千萬讀者看成是迷人新英雄,文中崇尚自由親切語言受到熱烈歡迎。《麥田裏守望者》雖然衹有十幾萬字,它卻在美國社會中和文學界産生過巨大影響。小說一問世,立即引起轟動,特別受到大中學生熱烈歡迎。他們紛紛模仿主人公霍爾頓裝束打扮,講“霍爾頓式”語言,因為這部小說道出了他們心聲,反映了他們理想、苦悶和願望。塞林格這本薄薄《麥田裏守望者》影響了幾代美國青年,大概也影響了不止一代中國青年。這本在世界文學中也算得上“現代經典”之作,從上個世紀80年代初譯成中文以來,已有多種版本多次印刷,常銷不衰。
  
  《麥田裏守望者》確是一本嚴肅現實主義作品,書中所體現對青少年成長過程中迷惘廣泛關註與深刻理解。
  《麥田裏守望者》-評價
  
  《麥田裏守望者》英文讀本
  
  從第二次世界大戰結束到今天當代美國文學中,有兩部小說經過三十多年時間考驗,已被認為是“現代經典”:一部是黑人作傢拉爾夫·艾裏森(RalphElli。,1914 一)《無形人》(TheInvisibleMan,1952),一部就是本書。本書篇幅不大,衹十幾萬字。作者除發表過一些短篇小說外,迄今衹寫過這一部長篇小說,卻在美國社會和文學界産生了巨大影響。
  
  小說一出版,就受到國內青少年熱烈歡迎,認為它道出了自己心聲,一時大、中學校校園裏到處都模仿小說主人公霍爾頓——他們在大鼕天身穿風衣,倒戴着紅色鴨舌帽,學着霍爾頓言語動作。甚至在六十年代初期,外國學者衹要跟美國學生一談到文學,他們就馬上提出了《麥田裏守望者》。
  
  不同青年、不同傢長和不同評論傢,往往從不同角度對此書作出不同評價。有過兩種截然相反意見:一種意見頌揚此書,把它說得天花亂墜,認為成人通過本書可以增加對青少年理解,青年人在閱讀本書後則能增加對生活認識,使自己對醜惡現實提高警惕,並促使自己去選擇一條自愛道路;另一種意見嚴厲批評本書,把它看作洪水猛獸,說主人公滿嘴粗話,張口“他媽”,閉口“混帳”,讀書不用功,還抽煙、酗酒、搞女人,從而認為本書內容“猥褻”、 “讀神”,有些傢長甚至要求學校禁止學生閱讀這類書籍,某些圖書館(如加利福尼亞州桑鬍斯城中學圖書館)曾一度將本書列為禁書;但經過時間考驗後,大多數中學和高等學校已把本書列為必讀課外讀物,許多公共學校還以它為教材,美國社會學家大衛·裏斯曼(DavidRiesman)在哈佛大學開設社會學課程《美國社會結構和性質》中,指定本書為必修讀物。
  
  這部小說出版後,至今影響不衰,總銷售量已超過千萬册,有好幾種不同版本,例如平裝班登(Bantaxn)版已印至第五十三版。它在當代美國文學中地位也日益鞏固,越來越受到文學評論界重視。
  
  《麥田裏守望者》之所以受到重視,不僅是由於作者創造了一種新穎藝術風格,通過第一人稱以青少年說話口吻敘述全書,更重要了資本主義社會精神文明實質。人活着除了物質生活外,還要有精神生活,而且在一個比較富裕社會裏,精神生活往往比物質生活更為重要。美國在戰爭中發了橫財,戰後物質生産發展得很快,生活水平迅速提高,中産階級人數也激增。
  
  但廣大人民精神生活卻越來越貧乏。空虛。五十年代初美國政府奉行杜魯門主義和麥卡錫主義,遏製共産主義,國際上加劇冷戰,國內鎮壓進步力量,核戰爭恐怖籠罩着每個人心靈,有些人粉飾太平,過着渾渾噩噩日子;另有些人看不慣庸俗、虛偽世道,想要反抗,卻又缺乏光輝理想,找不到一條光明出路。因此美國有當代史傢把美國五十年代稱為“靜寂五十年代”或“怯懦五十年代”。
  有些青年人以消極方式(主要通過酗酒、吸毒、群居等頽廢方式)對現實進行反抗,史傢稱他們為“垮掉一代”或“垮掉分子”。本書作者塞林格和他筆下人物如本書主人公霍爾頓·考爾菲德,實際上也是垮掉分子代表,但垮得還不到吸毒。群居地步,如霍爾頓尚想探索和追求理想(包括愛情理想),因此他嚮往東方哲學,提出長大成人後想當一個“麥田裏守望者”。
  
  這種理想當然幼稚可笑,但說明作者有點像魯迅在《狂人日記》裏提出來那樣,尚有“救救孩子”想法。霍爾頓是當代美國文學中最早出現反英雄形象之一,他性格較為復雜,有受資本主義社會耳濡目染醜惡一面,但也有反抗現實、追求理想純潔一面。
  
  他為什麽不肯用功讀書,被四次開除出學校?那是因為學校裏老師和他傢長強迫他讀書衹是為了“出人頭地,以便將來可以買輛混帳凱迪拉剋”!而在學校裏“一天到晚幹,就是談女人、酒和性;再說人人還在搞下流小集團……”這就是霍爾頓所生活世界。他不願同流合污,自然也就無法好好念書,因此他不用功實質上是對資産階級現行教育制度一種反抗。
  
  另一方面,在他那樣生活環境裏,他又能找到什麽可貴精神寄托或崇高理想呢?學校裏老師大部分都是勢利偽君子,連他所唯一敬佩一位老師後來發現也可能是個搞同性戀,而這位老師諄諄教導他,也衹是資産階級利已主義信條:“一個不成熟男子標志是他願意為某種事業英勇地死去,一個成熟男子標志是他願意為某種事業卑賤地活着。”
  
  本書在藝術上頗具特色,心理描寫細緻入微,可以說開當代美國文學中心理現實主義先河。從表面上看,霍爾頓不求上進,抽煙、喝酒。亂談戀愛甚至找妓女,簡直是個糟糕透頂“壞孩子”,如果光看這些外表上不良傾嚮,當然無法真正理解像霍爾頓這樣孩子,而我們多少成年人卻往往用簡單、粗暴、主觀方法去對待青少年(包括自己子女),從而造成或加深兩代人隔閡(也即西方所謂“代溝”)。
  
  本書作者以犀利洞察力解剖青少年復雜心理,透過現象觀察精神實質,栩栩如生地描繪了霍爾頓精神世界各個方面,既揭示了他受環境影響頽廢、沒落一面,也寫出了他純樸、敏感、善良一面,在某種程度上確實反映了青春變化期青少年特點,無怪乎在西方社會裏引起了廣大青少年巨大反響,而且不少成年人也把它看作啓發自己理解年輕一代鑰匙。
  
  在語言運用上,本書也獨創一格,這種風格後來被不少西方作傢所模仿。全書用青少年口吻平鋪直敘,使用了大量俚語和口語。
  
  《麥田裏守望者》也許衹不過是永遠"青春小說"中一種,卻總是令人懷戀不已。靜下心讀,就是翻閱自己曾有體驗,一切支離破碎過往,所有瘋狂和苦澀,彷徨和迷惘,穿越時空荒漠重現,真實在這一刻紮根。 這本書,是青春杯盞裏烈烈狂放舞蹈,是黑暗段落中四處衝突燭光。是無語麥田裏,那隨風吶喊稻草人。
  《麥田裏守望者》插圖
  
  本書以主人公霍爾頓自敘語氣講述自己被學校開除後在紐約城遊蕩將近兩晝夜經歷和心靈感受。它不僅生動細緻地描繪了一個不安現狀中産階級子弟苦悶仿徨、孤獨憤世精神世界,一個青春期少年矛盾百出心理特徵,也批判了成人社會虛偽和做作。霍爾頓是個性洛復雜而又矛盾青少年典型。他有一顆純潔善良、追求美好生活和崇高理想童心。他對那些熱衷於談女人和酒人十分反感,對校長虛偽勢利非常厭惡,看到墻上下流字眼便憤憤擦去,遇到修女為受難者募捐就慷慨解囊。他對妹妹菲芯真誠愛護,百般照顧。為了保護孩子,不讓他們掉下懸崖,他還渴望終生做一個“麥田裏守望者”,發出“救救孩子”般呼聲。可是,憤世嫉俗思想引起消極反抗,還有那敏感、好奇、焦躁、不安,想發泄、易衝動青春期心理,又使得他不肯讀書,不求上進,追求刺激,玩世不恭;他抽煙、酗酒、打架、調情,甚至找妓女玩。他覺得老師、父母要他讀書上進,無非是要他“出人頭地……以便將來可以買輛混帳凱迪拉剋”。他認為成人社會裏沒有一個人可信,全是“假仁假義偽君子”,連他敬佩唯一一位老師,後來也發現可能是個同性戀者,而且還用“一個不成熟男子標志是他願意為某種事業英勇地死去,一個成熟男子標志是他願意為某種事業卑賤地活着”那一套來教導他。他看不慣現實社會中那種世態人情,他渴望是樸實和真誠,但遇到全是虛偽和欺騙,而他又無力改變這種現狀,衹好苦悶、彷徨、放縱,最後甚至想逃離這個現實世界,到窮鄉僻壤去裝成一個又聾又啞人。二次大戰後,美國在社會異化、政治高壓和保守文化三股力量高壓下,形成了“沉寂十年”,而首先起來反抗是“垮掉一代”,本書主人公霍爾頓實際上也是個“垮掉分子”,是最早出現“反英雄”,衹是他還沒有放縱和混亂到他們那樣程度罷了。
  
  《麥田裏守望者》之所以能産生如此重大影響,很重要一點還由於作者創造了一種新穎藝術風格。全書通過第一人稱,以一個青少年口吻敘述了自己所思所想、所見所聞和行為舉止,也以一個青少年眼光批判了成人世界虛偽面目和欺騙行徑。作者以細膩深刻筆法剖析了主人公復雜心理,不僅抓住了他理想與現實衝突這一心理加以分析,而且也緊緊抓住了青少年青春期心理特點來表現主人公善良純真和荒誕放縱。小說中既用了“生活流”,也用了“意識流”,兩者得到了巧妙結合。在語言運用上,本書也獨創一格。全書用青少年口吻平鋪直敘,不避瑣碎,不諱隱私,使用了大量口語和俚語,生動活潑,平易近人,達到了如聞其聲、如見其人效果,增加了作品感染力,使讀者更能激起共鳴和思索,激起聯想和反響。
  《麥田裏守望者》-作品成就
  
  當代美國文學中最早出現反英雄形象
  
  全篇散發着濃郁青春氣息讀本
  
  現代文學十大經典之一
  
  美國文學史上青春讀本


  The Catcher in the Rye is a 1951 novel by J. D. Salinger. Originally published for adults, it has since become popular with adolescent readers for its themes of teenage confusion, angst, sexuality, alienation, and rebellion. It has been translated into almost all of the world's major languages. Around 250,000 copies are sold each year, with total sales of more than sixty-five million. The novel's protagonist and antihero, Holden Caulfield, has become an icon for teenage rebellion.
  
  The novel was included on a 2005 Time Magazine list of the 100 best English-language novels written since 1923, and it was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. It has been frequently challenged in the United States for its liberal use of profanity and portrayal of sexuality and teenage angst. It also deals with complex issues of identity, belonging, connection, and alienation.
  
  Plot summary
  
  Holden shares encounters he has had with students and faculty of Pencey, whom he criticizes as being superficial, or, as he would say, "phony." After being expelled from the school for poor grades, Holden packs up and leaves the school in the middle of the night after an altercation with his roommate. He takes a train to New York, but does not want to return to his family and instead checks into the dilapidated Edmont Hotel. There, he spends an evening dancing with three tourist girls and has a clumsy encounter with a young prostitute around his age named Sunny; his attitude toward the prostitute changes the minute she enters the room, and after he tells her he just wants to talk, she becomes annoyed with him and leaves. However, he still pays her for her time. She demands more money than was originally agreed upon and when Holden refuses to pay he is beaten by her pimp, Maurice (despite her encouraging him to simply threaten the money out of him and leave).
  
  Holden spends a total of three days in the city, characterized largely by drunkenness and loneliness. At one point he ends up at a museum, where he contrasts his life with the statues of Eskimos on display. For as long as he can remember, the statues have been unchanging. These concerns may have stemmed largely from the death of his brother, Allie. Eventually, he sneaks into his parents' apartment while they are away, to visit his younger sister, Phoebe, who is nearly the only person with whom he seems to be able to communicate. Phoebe views Holden as a hero, and she is naively unaware that Holden's view of her is virtually identical. Holden shares a fantasy he has been thinking about (based on a mishearing of Robert Burns' Comin' Through the Rye): he pictures himself as the sole guardian of numerous children running and playing in a huge rye field on the edge of a cliff. His job is to catch the children if they wander close to the brink; to be a "catcher in the rye".
  
  After leaving his parents' apartment, Holden then drops by to see a former, and much admired, English teacher, Mr. Antolini, in the middle of the night, and is offered advice on life and a place to sleep. Mr. Antolini tells Holden that it is the stronger man who lives humbly for a cause that he believes in, rather than dies nobly for it. This rebukes Holden's ideas of becoming a "catcher in the rye," a heroic figure who symbolically saves children from "falling off a crazy cliff" and being exposed to the evils of adulthood. During the speech on life, Mr. Antolini has a number of "highballs," referring to a cocktail served in a highball glass. Holden's comfort is upset when he wakes up in the night to find Mr. Antolini patting his head in a way that he perceives as "flitty." There is much speculation on whether Mr. Antolini was making a sexual advance on Holden, and it is left up to the reader to decide whether this is true. Holden leaves and spends his last afternoon wandering the city. He later wonders if his interpretation of Mr. Antolini's actions was actually correct.
  
  Holden decides to move out west; he relays these plans to his sister, who decides she wants to go with him. He refuses to take her, and when she becomes upset with him, he tells her that he will no longer go. Holden then takes Phoebe to the Central Park Zoo, where he watches with a bittersweet joy as she rides a carousel. He decides, while watching Phoebe, to go home and "face the music". At the close of the book, Holden chooses not to mention much about the present day, finding it inconsequential. He alludes to "getting sick" and living in a mental hospital, and mentions that he'll be attending another school in September. Holden says that he has surprisingly found himself missing Stradlater and Ackley (his former classmates), and even Maurice the elevator operator/pimp. He says, "Don't ever tell anybody anything. If you do, you'll start missing everybody".
  Writing style
  
  The Catcher in the Rye is written in a subjective style from the point of view of its protagonist, Holden Caulfield, following his exact thought process (a writing style known as stream of consciousness). There is flow in the seemingly disjointed ideas and episodes; for example, as Holden sits in a chair in his dorm, minor events such as picking up a book or looking at a table, unfold into discussions about experiences. Critical reviews agree that the novel accurately reflected the teenage colloquial speech of the time.
  Interpretations
  
  Writer Bruce Brooks held that Holden's attitude remains unchanged at story's end, implying no maturation, thus differentiating the novel from young adult fiction. In contrast, writer and academic Louis Menand thought that teachers assign the novel because of the optimistic ending, to teach adolescent readers that "alienation is just a phase." While Brooks maintained that Holden acts his age, Menand claimed that Holden thinks as an adult, given his ability to accurately perceive people and their motives such as when Phoebe states that she will go out west with Holden, and he immediately rejects this idea as ridiculous, much to Phoebe's disappointment. Others highlight the dilemma of Holden's state, in between adolescence and adulthood. While Holden views himself to be smarter than and as mature as adults, he is quick to become emotional. "I felt sorry as hell for..." is a phrase he often uses.
  
  Peter Beidler, in his A Reader's Companion to J.D. Salinger's The Catcher in the Rye, identifies the movie that the prostitute Sunny refers to in chapter 13 of The Catcher in the Rye. She says that in the movie a boy falls off a boat. The movie is Captains Courageous, starring Spencer Tracy. Sunny says that Holden looks like the boy who fell off the boat. Beidler shows (see p. 28) a still of the boy, played by child-actor Freddie Bartholomew.
  
  The novel's philosophy has been negatively compared with that of Jean-Jacques Rousseau.
  
  Each Caulfield child has literary talent: D.B. writes screenplays in Hollywood; Holden also reveres D. B. for his writing skill (Holden's own best subject), but he also despises movies, considering them the ultimate in "phony", and describes D. B.'s move to Hollywood to write for films as "prostituting himself". Allie wrote poetry on his baseball glove; and Phoebe is a diarist. This "catcher in the rye" is an analogy for Holden, who admires in kids attributes he struggles to find in adults, like innocence, kindness, spontaneity, and generosity. Falling off the cliff could be a progression into the adult world that surrounds him and that he strongly criticizes. Later, Phoebe and Holden exchange roles as the "catcher" and the "fallen"; he gives her his hunting hat, the catcher's symbol, and becomes the fallen as Phoebe becomes the catcher.
  Reception
  
  The Catcher in the Rye has been listed as one of the best novels of the 20th century. For The New York Times, James Stern wrote a negative review of the book, while Nash K. Burger called it "an unusually brilliant novel". George H. W. Bush called it "a marvelous book", listing it among the books that have inspired him. In June 2009, the BBC's Finlo Rohrer wrote that, 58 years since publication, the book is still regarded "as the defining work on what it is like to be a teenager. Holden is at various times disaffected, disgruntled, alienated, isolated, directionless, and sarcastic." Adam Gopnik considers it one of the "three perfect books" in American literature, along with Adventures of Huckleberry Finn and The Great Gatsby, and believes that "no book has ever captured a city better than Catcher in the Rye captured New York in the forties".
  
  Not all reception was positive, however. The book has had a share of critics. Rohrer writes that "Many of these readers are disappointed that the novel fails to meet the expectations generated by the mystique it is shrouded in. J. D. Salinger has done his part to enhance this mystique. That is to say, he has done nothing." Rohrer assessed the reasons behind both the popularity and criticism of the book, saying that it "captures existential teenage angst" and has a "complex central character" and "accessible conversational style"; while at the same time some readers may dislike the "use of 1940s New York vernacular", "self-obsessed central character", and "too much whining".
  Controversy
  
  In 1960 a teacher was fired for assigning the novel in class; he was later reinstated. Between 1961 and 1982, The Catcher in the Rye was the most censored book in high schools and libraries in the United States. In 1981, it was both the most censored book and the second most taught book in public schools in the United States. According to the American Library Association, The Catcher in the Rye was the tenth most frequently challenged book from 1990–1999. It was one of the ten most challenged books in 2005, and has been off the list since 2006. The challenges generally begin with vulgar language, citing the novel's use of words like "fuck" and "goddamn", with more general reasons including sexual references, blasphemy, undermining of family values and moral codes, Holden's being a poor role model, encouragement of rebellion, and promotion of drinking, smoking, lying, and promiscuity. Often, the challengers have been unfamiliar with the plot itself. Shelley Keller-Gage, a high school teacher who faced objections after assigning the novel in her class, noted that the challengers "are being just like Holden... They are trying to be catchers in the rye." A reverse effect has been that this incident caused people to put themselves on the waiting list to borrow the novel, when there were none before.
  
  Mark David Chapman's shooting of John Lennon (Chapman was arrested with a copy of the book), John Hinckley, Jr.'s assassination attempt on Ronald Reagan, Robert John Bardo's shooting of Rebecca Schaeffer, and other murders have also been associated with the novel.
  
  In 2009, Salinger successfully sued to stop the U.S. publication of a novel that presents Holden Caulfield as an old man. The novel's author, Fredrik Colting, commented, "call me an ignorant Swede, but the last thing I thought possible in the U.S. was that you banned books." The issue is complicated by the nature of Colting's book, 60 Years Later: Coming Through the Rye, which has been compared to fan fiction. Although commonly not authorized by writers, no legal action is usually taken against fan fiction since it is rarely published commercially and thus involves no profit. Colting, however, has published his book commercially. Unauthorized fan fiction on The Catcher in the Rye has existed on the Internet for years without any legal action taken by Salinger.
  Attempted adaptations
  
  Early in his career, J. D. Salinger expressed a willingness to have his work adapted for the screen. However, in 1949, a critically panned film version of his short story "Uncle Wiggily in Connecticut" was released; renamed My Foolish Heart and taking great liberties with Salinger's plot, the film is widely considered to be among the reasons that Salinger refused to allow any subsequent movie adaptations of his work. The enduring popularity of The Catcher in the Rye, however, has resulted in repeated attempts to secure the novel's screen rights.
  
  When The Catcher in the Rye was first released, many offers were made to adapt it for the screen; among them was Sam Goldwyn, producer of My Foolish Heart. In a letter written in the early fifties, J. D. Salinger spoke of mounting a play in which he would play the role of Holden Caulfield opposite Margaret O'Brien, and, if he couldn’t play the part himself, to “forget about it." Almost fifty years later, the writer Joyce Maynard definitively concluded, "The only person who might ever have played Holden Caulfield would have been J. D. Salinger."
  
  J. D. Salinger told Maynard in the seventies that Jerry Lewis "tried for years to get his hands on the part of Holden," despite Lewis not having read the novel until he was in his thirties. Celebrities ranging from Marlon Brando and Jack Nicholson to Tobey Maguire and Leonardo DiCaprio have since made efforts to make a film adaptation. In an interview with Premiere magazine, John Cusack commented that his one regret about turning twenty-one was that he had become too old to play Holden Caulfield. Writer-director Billy Wilder recounted his abortive attempts to snare the novel's rights:
  
   Of course I read The Catcher in the Rye....Wonderful book. I loved it. I pursued it. I wanted to make a picture out of it. And then one day a young man came to the office of Leland Hayward, my agent, in New York, and said, 'Please tell Mr. Leland Hayward to lay off. He’s very, very insensitive.' And he walked out. That was the entire speech. I never saw him. That was J. D. Salinger and that was Catcher in the Rye.
  
  In 1961, J. D. Salinger denied Elia Kazan permission to direct a stage adaptation of Catcher for Broadway. More recently, Salinger's agents received bids for the Catcher movie rights from Harvey Weinstein and Steven Spielberg, neither of which was even passed on to J. D. Salinger for consideration.
  
  In 2003, the BBC television program The Big Read featured The Catcher in the Rye, intercutting discussions of the novel with "a series of short films that featured an actor playing J. D. Salinger's adolescent antihero, Holden Caulfield." The show defended its unlicensed adaptation of the novel by claiming to be a "literary review", and no major charges were filed.
  
  According to a speculative article in The Guardian in May 2006, there were rumors that director Terrence Malick has been linked to a possible screen adaptation of the novel.
  
  After J. D. Salinger's death in 2010, Phyllis Westberg, who was Salinger's agent at Harold Ober Associates, stated that nothing has changed in terms of licensing movie, television, or stage rights of his works. A letter written by Salinger in 1957 revealed that he was open to an adaptation of The Catcher in the Rye released after his death. He wrote: "Firstly, it is possible that one day the rights will be sold. Since there's an ever-looming possibility that I won't die rich, I toy very seriously with the idea of leaving the unsold rights to my wife and daughter as a kind of insurance policy. It pleasures me no end, though, I might quickly add, to know that I won't have to see the results of the transaction."
  In popular culture
  
  References to The Catcher in the Rye in media and popular culture are numerous. Works inspired by The Catcher in the Rye have been said to form their own genre. Dr. Sarah Graham assessed works influenced by The Catcher in the Rye to include the novels Less Than Zero by Bret Easton Ellis,The Perks of Being a Wallflower by Stephen Chbosky, A Complicated Kindness by Miriam Toews, The Bell Jar by Sylvia Plath, and Judith Guest's Ordinary People. Graham also includes the films The Graduate, Dead Poets Society, Tadpole, Igby Goes Down, Chapter 27, The Good Girl and Donnie Darko. It has also been mentioned in an episode of the popular show South Park, and references to the novel form a major plot point in the first season of Ghost in the Shell: Stand Alone Complex. In the decade following its publication, there were more than 70 essays on the novel printed in American and British magazines.
第1節
  你要是真想聽我講,你想要知道第一件事可能是我在什麽地方出生,我倒楣童年是 怎樣度過,我父母在生我之前幹些什麽,以及諸如此類大衛科波菲爾式廢話,可我老實告 訴你,我無意告訴你這一切。首先,這類事情叫我膩煩;其次,我要是細談我父母個人私 事,他們倆淮會大發脾氣。對於這類事情,他們最容易生氣,特別是我父親。他們為人倒是 挺不錯——我並不想說他們壞話——可他們確很容易生氣。再說,我也不是要告訴你他 媽我整個自傳。我想告訴你衹是我在去年聖誕節前所過那段荒唐生活,後來我身體 整個兒垮了,不得不離傢到這兒來休養一陣。我是說這些事情都是我告訴DB,他是我哥 哥,在好萊塢。那地方離我目前可憐住處不遠,所以他常常來看我,幾乎每個周末都來, 我打算在下個月回傢,他還要親自開車送我回去。他剛買了輛“美洲豹”,那是種英國小轎 車,一個小時可以駛兩百英裏左右,買這輛車花了他將近四千塊錢。最近他十分有錢。過去 他並不有錢。過去他在傢裏時候,衹是個普通作傢,寫過一本了不起短篇小說集《秘密 金魚》,不知你聽說過沒有。這本書裏最好一篇就是《秘密金魚》,講是一個小孩怎樣 不肯讓人看他金魚,因為那魚是他自己花錢買
   這故事動人極了,簡直要了我命。這會兒他進了好萊塢,當了——這個DB。我 最最討厭電影。最好你連提也不要嚮我提起。
   我打算從我離開潘西中學那天講起。潘西這學校在賓夕法尼亞州埃傑斯鎮。你也許聽說 過。也許你至少看見過廣告。他們差不多在一千份雜志上登了廣告,總是一個了不起小夥 子騎着馬在跳籬笆。好象在潘西除了比賽馬球就沒有事可做似
   其實我在學校附近連一匹馬影兒也沒見過。在這幅跑馬圖底下,總是這樣寫着:“自 從一八八八年起,我們就把孩子栽培成優秀、有腦子年輕人。”完全是騙人鬼話。在 潘西也象在別學校一樣,根本沒栽培什麽人材。而且在那裏我也沒見到任何優秀、有腦 子人。也許有那麽一兩個.可他們很可能在進學校時候就是那樣人。
   嗯,那天正好是星期六,要跟薩剋遜.霍爾中學賽橄欖球。跟薩剋遜.霍爾這場比賽被 看作是潘西附近一件大事。這是年內最後一場球賽,要是潘西輸了,看樣子大傢非自殺不 可。我記得那天下午三點左右,我爬到高高湯姆孫山頂上看賽球,就站在那尊曾在獨立戰 爭中使用過混帳大炮旁邊。從這裏可以望見整個球場,看得見兩隊人馬到處衝殺。看臺裏 情況雖然看不很清楚,可你聽得見他們呦喝聲,一片震天價喊聲為潘西叫好,因為除了 我,差不多全校人都在球場上,不過給薩剋遜.霍爾那邊叫好聲音卻是稀稀拉拉,因 為到客地來比賽球隊,帶來人總是不多
   在每次橄欖球比賽中總很少見到女孩子。衹有高班學生纔可以帶女孩子來看球。這確 實是個陰森可怕學校,不管你從哪個角度看它。我總希望自己所在地方至少偶爾可以看 見幾個姑娘,哪怕衹看見她們在搔胳膊、擤鼻子,甚至在吃吃地傻笑。
   賽爾瑪.綏摩——她是校長女兒——倒是常常出來看球,可象她這樣女人,實在引 不起你多大興趣。其實她為人倒挺不錯。有一次我跟她一起從埃傑斯鎮坐公共汽車出去,她 就坐在我旁邊,我們倆隨便聊起天來。我挺喜歡她。她鼻子很大,指甲都已剝落,象在流 血似,胸前還裝着兩衹假奶,往四面八方直挺,可你見了,衹覺得她可憐。我喜歡她地 方,是她從來不瞎吹她父親有多偉大。也許她知道他是個假模假式飯桶。
   我之所以站在湯姆孫山頂,沒下去看球,是因為我剛跟擊劍隊一道從紐約回來。我還是 這個擊劍隊倒楣領隊。真了不起。我們一早出發到紐約去跟麥剋彭尼中學比賽擊劍。衹是 這次比賽沒有比成。
   我們把比賽用劍、裝備和一些別東西一古腦兒落在他媽地鐵上了。這事也不能完 全怪我。我得不住地站起來看地圖,好知道在哪兒下車。結果,我們沒到吃晚飯時間,在下 午兩點三十分就已回到了潘西。乘火車回來時候全隊人一路上誰也不理我。說起來,倒 也挺好玩哩。
   我沒下去看球另一原因,是我要去嚮我歷史老師老斯賓塞告別。他患着流行性感 冒,我揣摩在聖誕假期開始之前再也見不到他了。他寫了張條子給我,說是希望在我回傢之 前見我一次。他知道我這次離開潘西後再也不回來了。
   我忘了告訴你這件事。他們把我踢出了學校,過了聖誕假後不再要我回來,原因是我有 四門功課不及格,又不肯好好用功。他們常常警告我,要我好好用功——特別是學期過了一 半,我父母來校跟老綏摩談過話以後——可我總是當耳邊風。於是我就給開除了。他們在潘 西常常開除學生。潘西在教育界聲譽挺高。這倒是事實。
   嗯,那是十二月,天氣冷得象巫婆奶頭,尤其是在這混帳小山頂上。我衹穿了件晴 雨兩用風衣,沒戴手套什麽。上個星期,有人從我房間裏偷走了我駱駝毛大衣,大 衣袋裏還放着我那副毛皮裏子手套。潘西有是賊。不少學生都是傢裏極有錢,可學校 裏照樣全是賊。學校越貴族化,裏面賊也越多——我不開玩笑。嗯,我當時一動不動地站 在那尊混帳大炮旁邊,看着下面球賽,凍得我屁股都快掉了。衹是我並不在專心看球。我 流連不去真正目,是想跟學校悄悄告別。我是說過去我也離開過一些學校,一些地方, 可我在離開時候自己競不知道。我痛恨這類事情。
   我不在乎是悲傷離別還是不痛快離別,衹要是離開一個地方,我總希望離開時候 自己心中有數。
   要不然,我心裏就會更加難受。
   總算我運氣好。剎那間我想起了一件事,讓我感覺到自己他媽就要滾出這個地方了。 我突然記起間,我怎樣跟羅伯特.鐵奇納和保爾.凱姆伯爾一起在辦公大樓前扔橄欖 球。他們都是挺不錯小夥子,尤其是鐵奇納。那時正是在吃晚飯前,外面天已經很黑了, 可是我們照樣扔着球。天越來越黑,黑得幾乎連球都看不見了,可我們還是不肯歇手。最後 我們歇手了。那位教生物老師,柴柏西先生,從教務處窗口探出頭來,叫我們回宿 捨去準備吃晚飯。我要是運氣好,能在緊要關頭想起這一類事情,我就可以好好作一番告別 了——至少絶大部分時間都可以做到。因此我一有那感觸,就立刻轉身奔下另一邊山坡, 老斯賓塞傢奔去。他並不住在校園內。他住在安東尼.魏思路。
   我一口氣跑到大門邊,然後稍停一下,喘一喘氣。我氣很短,我老實告訴你說。我抽 煙抽得兇極了,這是一個原因——那是說,我過去抽煙抽得極兇。現在他們讓我戒掉了。另 一個原因,我去年一年內競長了六英寸半。正因為這個緣故,我差點兒得了肺病,現在離傢 來這兒作他媽檢查治療那一套。其實,我身上什麽毛病也沒有。
   嗯,等我喘過氣來以後,我就奔過了第二0四街。天冷得象在地獄裏一樣,我差點兒摔 了一交。我甚至都不知道自己為什麽要奔跑——我揣摩大概是一時高興。我穿過馬路以後, 覺得自己好象失蹤了似。那是個混帳下午,天氣冷得可怕,沒太陽什麽,在每次穿越 馬路之後,你總會有一種象是失蹤了感覺。
   嘿,我一到老斯賓塞傢門口,就拼命按起鈴來。我真凍壞了。我耳朵疼得厲害,手 上指頭連動都動不了。“喂,喂,”我幾乎大聲喊了起來,“快來人開門哪。”最後老斯 賓塞太太來開門了。他們傢裏沒有傭人,每次總是他們自己出來開門。他們並不有錢。“霍 爾頓!”斯賓塞太太說。“見到你真高興!進來吧,親愛!你都凍壞了吧?”我覺得她 確樂於見我。她喜歡我。至少我是這樣覺得。
   嘿,我真是三腳兩步跨進了屋。“您好,斯賓塞太太?”我說。“斯賓塞先生好?”
   “我來給你脫大衣吧,親愛,”她說。她沒聽見我問候斯賓塞先生話。她耳朵有 點聾。
   她把我大衣接在門廳壁櫥裏,我隨使用手把頭髮往後一掠。我經常把頭髮理得很 短,所以用不着用梳子梳。“您好嗎,斯賓塞太太?”我又說了一遍,衹是說得更響一些, 好讓她聽見。
   “我挺好,霍爾頓。”她關上了櫥門。“你好嗎?”從她問話口氣裏,我立刻聽出老 斯賓塞已經把我被開除事告訴她了。
   “挺好,”我說。“斯賓塞先生好嗎?他感冒好了沒有?”
   “好了沒有!霍爾頓,他完全跟好人一樣了——我不知道怎麽說合適……他就在他自己 房裏,親愛。進去吧。”
第2節
  他們各有各房間。他們都有七十左右年紀,或者甚至已過了七十。他們都還自得其樂 ——當然是傻裏傻氣。我知道這話聽起來有點混,可我並不是有意要說混話。我意思衹 是說我想老斯賓塞想得太多了,想他想得太多之後,就難免會想到象他這樣活着究竟有什麽 意思。我是說他背已經完全駝了,身體姿勢十分難看,上課時候在黑板邊掉了粉筆, 總要坐在第一排學生走上去拾起來遞給他。真是可怕極了,在我看來。不過你要是想他想 得恰到好處,不是想得太多,你就會覺得他日子還不算太難過。舉例來說,有一個星期天 我跟另外幾個人在他傢喝熱巧剋力,他還拿出一條破舊納瓦霍毯子來給我們看,那是他跟 斯賓塞太太在黃石公園嚮一個印第安人買。你想象得出老斯賓塞買了那條毯子心裏該有多 高興。這就是我要說意思。有些人老得快死了,就象老斯賓塞那樣,可是買了條毯子卻會 高興得要命。
   他房門開着,可我還是輕輕敲了下門,表示禮貌。我望得見他坐地方。他坐在一把 大皮椅上,用我上面說過那條毯子把全身裹得嚴嚴
   他聽見我敲門,就擡起頭來看了看。“誰?”他大聲嚷道。“考爾菲德?進來吧,孩 子。”除了在教室裏,他總是大聲嚷嚷。有時候你聽了真會起雞皮疙瘩。
   我一進去,馬上有點兒後悔自己不該來。他正在看《大西洋月刊》,房間裏到處是丸藥 和藥水,鼻子裏衹聞到一般維剋斯滴鼻藥水味道。這實在叫人泄氣。我對生病人反正沒 多大好感。還有更叫人泄氣,是老斯賓塞穿着件破爛不堪舊浴衣,大概是他出生那天就 裹在身上。我最不喜歡老人穿着睡衣或者浴衣。他們那瘦骨磷晌胸脯老是露在外面。還 有他們腿。老人腿,常常在海濱之類地方見到,總是那麽白,沒什麽毛。“哈羅,先 生,”我說。“我接到您便條啦。多謝您關懷。”他曾寫了張便條給我,要我在放假之前 抽空到他傢去道別,因為我這一走,是再也不回來了。“您真是太費心了。我反正總會來嚮 您道別。”
   “坐在那上面吧,孩子,”老斯賓塞說。他意思要我坐在床上。
   我坐下了。“您感冒好些嗎,先生?”
   “我孩子,我要是覺得好些,早就去請大夫了,”老斯賓塞說。說完這話,他得意 了不得,馬上象個瘋子似吃吃笑起來。最後他總算恢復了平靜,說道:“你怎麽不去看 球?我本來以為今天有隆重球賽呢。”
   “今天倒是有球賽。我也去看了會兒。衹是我剛跟擊劍隊從紐約回來,”我說。嘿,他 床岩石一樣。
   他變得嚴肅起來。我知道他會。“那麽說來,你要離開我們了,呃?”他說。
   “是,先生。我想是。”
   他開始病發作,一個勁幾點起頭來。你這一輩子再也沒見過還有誰比他更會點頭。 你也沒法知道他一個勁兒點頭是由於他在動腦筋思考呢,還是由於他衹是個挺不錯老傢 夥,糊塗得都不知道哪兒是自己屁股哪兒是自己胳膊彎兒了。
   “綏摩博士跟你說什麽來着,孩子?我知道你們好好談過一陣,”“不錯,我們談過。 我們確談過。我在他辦公室裏呆了約莫兩個鐘頭,我揣摩。”
   “他跟你說了些什麽?”
   “哦……呃,說什麽人生是場球賽。你得按照規則進行比賽。他說得挺和藹。我是說他 沒有蹦得碰到天花板什麽。他衹是一個勁兒談着什麽人生是場球賽。您知道。”
   “人生確是場球賽,孩子。人生確是場大傢按照規則進行比賽球賽。”
   “是,先生。我知道是場球賽。我知道。”
   球賽,屁球賽。對某些人說是球賽。你要是參加了實力雄厚那一邊,那倒可以說是 場球賽,不錯——我願意承認這一點。可你要是參加了另外那一邊,一點實力也沒有,加麽 還賽得了什麽球?
   什麽也賽不成。根本談不上什麽球賽。“綏摩博士已經寫信給你父母了嗎?”老斯賓塞 問我。
   “他說他打算在星期一寫信給他們。”
   “你自己寫信告訴他們沒有?”
   “沒有,先生,我沒寫信告訴他們,因為我星期三就要回傢,大概在晚上就可以見到他 們了。”
   “你想他們聽了這個消息會怎麽樣?”
   “嗯,……他們聽了會覺得煩惱,”我說。
   “他們一定會。這已是我第四次換學校了。”我搖了搖頭。我經常搖頭。“嘿!”我 說。我經常說“嘿!”這一方面是由於我詞彙少得可憐,另一方面也是由於我行為舉止 有時很幼稚。我那時十六歲,現在十七歲,可有時候我行為舉止卻象十三歲。說來確實很 可笑,因為我身高六英尺二英寸半,頭上還有白頭髮。我真有白頭髮。在頭上一邊——右 邊,有千百萬根白頭髮,從小就有。可我有時候一舉一動,卻象還衹有十二歲。誰都這樣 說,尤其是我父親。這麽說有點兒對,可並不完全對。人們總是以為某些事情是完全對。 我壓根幾就不理這個碴兒,除非有時候人們說我,要我老成些,我纔冒起火來。有時候我 一舉一動要比我年齡老得多——確是這樣——可人們卻視而不見。
   他們是什麽也看不見
   老斯賓塞又點起頭來了。他還開始掏起鼻子來。他裝作衹是捏一捏鼻子,其實他早將那 衹大拇指伸進去了。我揣摩他大概認為這樣做沒有什麽不對,因為當時房裏衹有我一個。我 倒也不怎麽在乎,衹是眼巴巴看着一個人掏鼻子,總不兔有點惡心。
   接着他說:“你爸爸和媽媽幾個星期前跟綏摩博士談話時候,我有幸跟他們見了面。 他們都是再好沒有人。”
   再好沒有,我打心眼裏討厭這個詞兒。完全是假模假式。我每次聽見這個詞兒,心裏就 作嘔。
   一霎時,老斯賓塞好象有什麽十分妙、十分尖銳——尖銳得象針一樣——話要跟我 說。他在椅子上微微坐直身子,稍稍轉過身來。可這衹是一場虛驚。他僅僅從膝上拿起那本 《大西洋月刊》,想扔到我旁邊床上。他沒扔到。衹差那麽兩英寸光景,可他沒扔到。我 站起來從地上拾起雜志,把它擱在床上。突然間,我想離開這個混帳房間了。我感覺得出有 一席可怕訓話馬上要來了。我倒不怎麽在乎聽訓話,不過我不樂意一邊聽訓話一邊聞維剋 斯滴鼻藥水味道,一邊還得望着穿了睡褲和浴衣老斯賓塞。我真不樂意。
   訓話終於來了。“你這是怎麽回事呢,孩子?”
   老斯賓塞說,口氣還相當嚴厲。“這個學期你念了幾門功課?”
   “五門,先生。”
   “五門。你有幾門不及格?”
   “四門。”我在床上微微挪動一下屁股。這是我有生以來坐過最硬床。“英文我考 得不錯,”我說,“因為《貝沃爾夫》和‘蘭德爾我兒子’這類玩藝兒,我在鬍敦中學時 候都念過了。我是說念英文這一門我用不着費多大勁兒,除了偶爾寫寫作文。”
   他甚至不在聽。衹要是別人說話,他總不肯好好聽。
   “歷史這一門我沒讓你及格,因為你簡直什麽也不知道。”
   “我明白,先生。嘿,我完全明白。您也是沒有辦法。”
   “簡直什麽也不知道,”他重複了一遍。就是這個最叫我受不了。我都已承認了,他卻 還要重複說一遍。然而他又說了第三遍。“可簡直什麽也不知道。我十分十分懷疑,整整一 個學期不知你可曾把課本翻開過哪怕一回。到底翻開過沒有?老實說,孩子。”
   “嗯,我約略看過那麽一兩次,”我告訴他說。我不願傷他心。他對歷史簡直着了 迷。
   “你約略看過,嗯?”他說——諷刺得厲害。
   “你,啊,那份試卷就在我小衣櫃頂上。最最上面那份就是。請拿來給我。”
   來這套非常下流,可我還是過去把那份試卷拿給他了——此外沒有其他辦法。隨後我又 坐到他那張象是水泥做床上。嘿,你想象不出我心裏有多懊喪,深悔自己不該來嚮他道 別。
   他拿起我試卷來,那樣子就象拿着臭屎什麽。“我們從十一月四日到十二月二日上 關於埃及人課。在自由選揮論文題裏,你選了寫埃及人,你想聽聽你說了些什麽嗎?”
   “不,先生,不怎麽想聽,”我說。
   可他照樣念了出來。老師想於什麽,你很難阻止他。他是非幹不可
   埃及人是一個屬於高加索人種古民族,住在非洲北部一帶。我們全都知道,非洲是東 半球上最大大陸。
   我衹好坐在那裏傾聽這類廢話。來這一套確實下流。
   我們今天對埃及人極感興趣,原因很多。現代科學仍想知道埃及人到底用什麽秘密藥料 敷在他們所包裹死人身上,能使他們臉經無數世紀而不腐爛。這一有趣謎仍是對二十 世紀現代科學一個挑戰。
   他不念了,隨手把試卷放下。我開始有點恨他了。“你大作,我們可以這麽說,寫到 這兒就完了,”他用十分諷刺口吻說。你真想不到象他這樣老傢夥說話竟能這麽諷刺。 “可是,你在試卷底下還寫給我一封短信,”他說。
   “我知道我寫了封短信,”我說。我說得非常快,因為我想攔住他,不讓他把那玩藝兒 大聲讀出來。可你沒法攔住他。他熱得象個着了火炮仗。
   親愛斯賓塞先生第他大聲念道”。我對埃及人衹知道這一些。雖然您講課講得極好, 我卻對他們不怎麽感興趣。您儘管可以不讓我及格,反正我除了英文一門以外,哪門功課也 不可能及格。極敬愛您學生霍爾頓.考爾菲德敬上。
   他放下那份混帳試卷,拿眼望着我,那樣子就象他媽在比賽乒乓球或者其他什麽球 時候把我打得一敗塗地似,他這麽把那封短信大聲念出來,這件事我一輩子也不能原諒 他。要是他寫了那短信,我是决不會大聲念給他聽——我真不會。尤其是,我他媽寫 那信衹是為了安慰他,好讓他不給我及格時候不至於太難受。
   “你怪我沒讓你及格嗎,孩子?”他說。
   “不,先生?我當然不怪你,”我說。我他媽真希望他別老這麽一個勁兒管我叫“孩 子”。
   他念完試卷,也想把它扔到床上。衹是他又沒有扔到,自然羅。我不得不再一次起身把 它拾起來,放在那本《大西洋月刊》上面。每兩分鐘起身給他拾一次東西,實在叫人膩煩。
   “你要是在我地位,會怎麽做呢?”他說。
   “老實說吧,孩子。”
   呃,你看得出他給了我不及格,心裏確實很不安。我於是信口跟他鬍扯起來。我告訴他 說我真是個窩囊廢,諸如此類話。我跟他說我要是換了他地位,也不得不那麽做,還說 大多數人都體會不到當老師處境有多睏難。反正是那一套老話。
   但奇怪是,我一邊在信口開河,一邊卻在想別事。我住在紐約,當時不知怎竟想 起中央公園靠南邊那個小湖來了。我在琢磨,到我回傢時候,湖裏水大概已經結冰了, 要是結了冰,那些野鴨都到哪裏去了呢?我一個勁兒琢磨,湖水凍嚴以後,那些野鴨到底上 哪兒去了。我在琢磨是不是會有人開了輛卡車來,捉住它們送到動物園裏去。或者竟是它們 自己飛走了?
   我倒是很幸運。我是說我竟能一邊跟老斯賓塞鬍扯,一邊想那些鴨子。奇怪是,你跟 老師聊天時候,竟用不着動什麽腦筋。可我正在鬍扯時候,他突然打斷了我話。他老 喜歡打斷別人話。
   “你對這一切是怎麽個感覺呢,孩子?我對這很感興趣。感興趣極了。”
   “您是說我給開除出潘西這件事?”我說,我真希望他能把自己瘦骨磷峋胸脯遮蓋起 來。這可不是太悅目景色。
   “要是我記得不錯話,我相信你在鬍敦中學和愛爾敦.希爾斯也遇到過睏難。”他說 這話時不僅帶着諷刺,而且帶着點兒惡意了。
   “我在愛爾敦.希爾斯倒沒什麽睏難,”我對他說。“我不完全是給開除出來。我衹 是自動退學,可以這麽說。”
   “為什麽呢,請問?”
   “為什麽?哎呀,這事說來話長,先生。我是說問題極其復雜。”我不想跟他細談。他 聽了也不會理解。這不是他在行學問。我離開愛爾敦.希爾斯最大原因之一,是因為我 四周圍全都是偽君子。就是那麽回事。到處都是他媽偽君子。舉例說,學校裏校長哈 斯先生就是我生平見到最最假仁假義雜種。比老綏摩還要壞十倍。比如說,到了星期 天,有些學生傢長開了汽車來接自己孩子,老哈斯就跑來跑去跟他們每個人握手。
   還象個娼婦似巴結人。除非見了某些模樣兒有點古怪傢長。你真該看看他怎樣對待 跟我那個學生父母。我是說要是學生母親顯得太胖或者粗野,或者學生父親湊 巧是那種穿着寬肩膀衣服和粗俗黑白兩色鞋人,那時候老哈斯就衹跟他們握一下手,假 惺惺地朝着他們微微一笑。然後就一徑去跟別學生父母講話,一談也許就是半個小時。 我受不了這類事情。它會逼得我發瘋,會讓我煩惱得神經錯亂起來。我痛恨那個混帳中學愛 爾敦.希爾斯。
   老斯賓塞這時又問了我什麽話,可我沒聽清楚。我正在想老哈斯事呢。“什麽,先 生?”我說。
   “你離開潘西,有什麽特別不安感覺嗎?”
   “哦,倒是有一些不安感覺。當然啦……可並不太多。至少現在還沒有。我揣摩這樁 事目前還沒真正擊中我要害。不管什麽事,總要過一些時候才能擊中我要害。我這會兒 心裏衹想着星期三回傢事。我是窩囊廢。”
   “你難道一點也不關心你自己前途,孩子?”
   “哦,我對自己前途是關心,沒錯兒。當然啦。我當然關心。”我約莫考慮了一分 鐘。“不過並不太關心,我揣摩。並不太關心,我揣摩。”
   “你會,”老斯賓塞說。“你會關心,孩子。到了後悔莫及時候,你會關心 。”
   我不愛聽他說這樣話。聽上去好象我就要死了似,令人十分懊喪。“我揣摩我會這 樣,”我說。
   “我很想讓你頭腦恢復些理智,孩子。我想給你些幫助。我想給你些幫助,衹要我做 得到。”
   他倒是確想給我些幫助。你看得出來。但問題是我們倆一個在南極一個在北極,相距 太遠;就是那麽回事。“我知道您是想給我幫助,先生。”
   我說。“非常感謝。一點不假。我感謝您好意。
   我真感謝。”說着,我就從床邊站起身來。嘿,哪怕要了我命,也不能讓我在那兒 再坐十分鐘了。“問題是,咳,我現在得走了。體育館裏還有不少東西等我去收拾,好帶回 傢去。我真有不少東西得收拾呢。”他擡起頭來望着我,又開始點起頭來,臉上帶着極其嚴 肅神情。突然間,我真為他難受得要命。可我實在沒法再在那兒逗留了,象這樣一個在南 極一個在北極,他呢,還不住地往床上扔東西,可又老是半路掉下,他又穿着那件破舊浴 衣,還裸露出他胸膛,房間裏又彌漫着一股象徵流行性感冒維剋斯滴鼻藥水氣味——在 這情況下,我實在呆不下去了。“聽我說,先生。別為我擔心,”我說。“我是說老實話。 我會改過來
   我現在衹是在過年輕人一關。誰都有一些關要過,是不是呢?”
   “我不知道,孩子。我不知道。”
   我最討厭人傢這樣回答問題。“當然啦。當然誰都有關要過,”我說。“我說是實 話,先生。
   請別為我擔心。”我幾乎把我一隻手擱在他肩膀上了。“成嗎?”我說。
   “你喝杯熱巧剋力再走好嗎?斯賓塞太太馬上——”“謝謝,真謝謝,不過問題是,我 得走啦。我得馬上到體育館去。謝謝。多謝您啦,先生。”
   於是我們握了手,說了一些廢話。我心裏可真難受得要命。
   “我會寫信給您,先生。註意您感冒,多多保重身體。”
   “再見吧,孩子。”
   我隨手帶上門,嚮起居室走去,忽然又聽到他大聲跟我嚷了些什麽,可我沒聽清楚。我 深信他說是“運氣好!”我希望不是。我真他媽希望不是。我自己從來不跟任何人說 “運氣好!”你衹要仔細想一想,就會覺得這話真是可怕。
首頁>> 文學>> 青春校园>> 羅姆·大衛·塞林格 Jerome David Salinger   美國 United States   現代美國   (1919年元月1日2010年元月27日)