J. D. Salinger's 'Igby Goes Down'

Analyse how composers of the set text reflect the concerns of their time

The Bildungsroman 1950’s novel, The Catcher in the Rye, by J.D Salinger and its late-twentieth century film appropriation, Igby goes down, directed by Bur steers can be seen as two texts that not only reflect the concerns of their time within their contextual societies, but furthermore challenge them. Good morning/afternoon Ms’ Parkinson and fellow students, today I will be discussing how the Composers Salinger and Steer question the existence of values such as Materialism and Relationships, with emphasise on Societies desire to pursue socio-cultural ‘norms’- which is essentially the accepted behaviour in a society or group. Through the use of Salinger’s literary techniques
and Steers utilisation of cinematic film techniques; both composers achieve this ultimate purpose. Although the two texts take different forms and occur in different periods of time, they both share a common purpose; to question conservative values which hinder the Journey of ‘unique’ individuals such as Holden Caulfield and “Igby” Solcumb, to Maturity.

The 1950’s novel The Catcher in the Rye experienced the post WWII economic boom, which lead to an expansion of inflation and a rise of spending in middle and upper classed societies of America. The result – consumerism - which simply meant that people of the current society put a greater emphasis on material possession with goals of pursuing happiness - the ‘American Dream’. Salinger challenges this value through the construction of the novels protagonist, Holden Caulfield. As the reader we are given the first insight into Holden’s non-conformity through his displeasure towards his education. The several private schools he has attended, and flunked, are a joint symbol for institutions of conformity and also materialism. Holden explains this through his description of Pencey Prep; “its full of phonies, and all you do is study so that you can learn enough to be smart enough to be able to buy a goddam Cadillac some day” Through this description Holden clearly demonstrates resistance of society’s value of Material possessions and money over all else. Salinger further shows Holden’s rejection of materialism through the characterisation of his older brother D.B with use a metaphorical statement, as he “prostitutes” himself by selling his writing talent to Hollywood, losing his individuality to achieve the American dream. With the use of a flashback, the responder learns of Holden separating with a roommate at Elkton Hills (chapter fifteen) for the sole reason that one had inferior suitcases to the other. Holden even confesses “It sounds terrible to say it, but I can even get to hate somebody, just looking at them, if they have cheap suitcases with them." Salinger’s purpose is to highlight how even an unreserved critic of materialism can contradict himself by valuing material possessions, such like the society of 1950’s did. This forces the reader to consider the validity of their own values.

The late-twentieth century saw a similar emergence of materialism in the upper class of society that again lead to a notion that luxuries such as money, cars, houses, clothes and education were the keys to happiness.
The writer and director of the film Igby Goes Down, Burr Steers, exemplifies this belief through the use of cinematic techniques. The audience are immediately introduced to a wealthy private school in the opening scenes of the film, with use of a camera angle technique; the panning shot, to help symbolise materialism, just like Holden’s various prep schools in The Catcher in the Rye. The scene cuts straight into Jason “Igby” Solcumb Jr., the protagonist, being expelled. Through a direct contrast of Igby and his successful, conforming brother, Oliver, Burr Steers stresses the extent to which Igby resists social expectations. Dialogue is used as a technique by the school’s headmaster to support this; “I hear he (Oliver) has already established himself as the cream of the Columbia Freshman crop. But of course we’re here to discuss Igby”. The brothers also differ in their speech; whilst Oliver speaks formally using politically correct language, Igby swears and uses sarcasm conversing in colloquial language. The use of props and costume play a vital part in suggesting that materialism was a strong value of the late-twentieth century. We see Rachel with her elegant apparel before the restaurant scene purposely trying to impress D.H., Igby’s affluent uncle who instantly leaves the restaurant when she arrives. The use of close up shot of D.H. facial expression further illustrates his dissatisfaction. A long shot showing Rachel alone whilst D.H. walks away is used metaphorically by Steers, as he implies that material possessions are ultimately insignificant. Costuming is also used to differentiate Igby from others; he can be seen in haggard clothes as he walks the streets of Manhattan. Igby also wears chucks – symbols of youth rebellion in a time of
conservatism. Parallel to Igby’s chucks is Holden’s red hunting hat which also is a symbol for his uniqueness among others who follow the mainstream social-cultural clothing standards. These symbols are utilized by Salinger and Steers to remind the responder of Igby and Holden’s ability to distant themselves from society’s norms. Salinger disproves the notion that materialism equals happiness by showing that the desire to have unbounded material wealth is itself the reason for society’s dissatisfaction

Post-WWII America placed importance on relationships and family construction in their society. The family unit was highly valued and was seen as an adolescent’s primary source of emotional support. Salinger explores the realistic roles of family relationships during this time, firstly by depicting Holden as detached from family support. In the beginning of the text it is established that Holden suffers from a lack of relationship with his parents. He is sarcastic in describing them; “My parents would have two haemorrhages apiece if I told anything pretty personal about them”. To contribute to this notion, Salinger ensures there is an absence of parental dialogue through the novel. Holden’s emotional instability is depicted to be a prominent reason for his non-conformity, seen through his various plans to escape his surroundings; “I’d pretend I was one of those dead-mutes. That way I wouldn’t have to have any goddam stupid useless conversations with anybody”. Holden distancing himself from all others around him is another consequence of his insecurity, demonstrated in the repetition of him ‘not being in the mood’ to call Jane Gallagher. In the novel’s conclusion, Holden makes a direct appeal to the responder using the second-person ‘you’: “Don’t ever tell anybody anything. If you do, you start missing everybody”. Through this direct appeal, Salinger engages the reader and the line’s ambiguity raises thought as to whether Holden has indeed changed from his bitter, judgmental and consequently distant self or if, alternatively, he still fears communication and intimate relationships. Salinger’s purpose here is to draw a relationship between Holden’s lack of emotional support which ultimately leads to his non-conformist ways.