Digression, Ethical Work, and Salinger's Postmodern Turn

Abstract

Many contributors to Wisconsin Studies in Contemporary Literature’s 1963 special issue on J.D. Salinger found themselves dealing with the sticky fact that his writing after The Catcher in the Rye (1951) had grown increasingly unconventional and, for numerous readers, off-putting. In the lead essay, for example, Ihab Hassan focused on ‘‘certain peculiarities of form in these stories, a form that is so asymmetrical, so tolerant of chance and digression, as to warrant the name of antiform’’ (5). Salinger’s asymmetries and digressions were of interest to Hassan because they exemplified a ‘‘new conception of form, particularly suitable to their vision, which is becoming rife in current literature’’ (6). Although today any critical attention paid to Salinger is centered almost exclusively on The Catcher in the Rye, it is worth asking how his later work could be representative of a new antiform becoming ‘‘rife’’ in American literature. This later work is indeed significant because its digressive sensibility can be read as a response to the influence of New Critical attitudes toward narrative fiction, which held that to be successful, fiction must exhibit a unity (‘‘The sense of wholeness or oneness’’) which digression would disrupt (Brooks and Warren, Understanding Fiction 608). 1 Salinger’s aesthetic, on the other hand, emphasized that far from being a rhetorical device that merely distracts from the main point of the work, digression could be significant in and of itself. In fact, insofar as his highly digressive work disrupts the sense of unity described by the New Criticism, it encourages readers to re-evaluate how they assign meaning and significance in and for the work, a task that amounts to what I will term ethical work. In its interest in antiform more broadly and digression specifically, Salinger’s later work, dismissed though it has been by those critics working from New Critical standards of evaluation, actually anticipates the postmodern turn of the later 1960s and beyond. This essay first describes a New Critical Steven Belletto is assistant professor of English and chair of the American Studies program at Lafayette College. His essays on postwar American literature and culture have appeared in such journals as American Quarterly, ELH, Clio, and Criticism. His book, No Accident, Comrade: Chance and Design in Cold War American Narratives, is forthcoming from Oxford University Press.