{"id":510,"date":"2026-07-15T04:13:23","date_gmt":"2026-07-15T04:13:23","guid":{"rendered":"https:\/\/cityflowjournal.com\/?p=510"},"modified":"2026-07-15T04:13:23","modified_gmt":"2026-07-15T04:13:23","slug":"holden-caulfield-the-original-redditor","status":"publish","type":"post","link":"https:\/\/cityflowjournal.com\/?p=510","title":{"rendered":"Holden Caulfield: the original Redditor"},"content":{"rendered":"
\n

Seventy-five years ago this week, a book was released which, according to one exasperated parent, included 237 uses of the word \u201cgoddamn\u201d, 58 of \u201cbastard\u201d and 31 of \u201cchrissakes\u201d. Despite only recalling the events of three days in a mixed-up teenage boy\u2019s crummy life, the story takes in prostitutes, underage drinking, noncery, casual sex and a memorable bout of flatulence. A mother\u2019s worst nightmare.<\/p>\n

Read more How David Miliband failed upwards<\/a><\/p>\n

The novel was of course J.D. Salinger\u2019s The Catcher in the Rye<\/i>, which had the unfortunate fate \u2014 as far as the huffing parents of 1951 were concerned \u2014 of being wildly popular and extensively taught in high schools (though some teachers were admittedly fired for assigning it). To date, it has sold more than 65 million copies. That it has never fallen out of favor should not surprise us: reading it is a matter of an afternoon, and it feels at points like reading one\u2019s own teenage diary. The main character, Holden Caulfield, a 16-year-old scrawny virgin dropout in a deerstalker hat, is as queasily legible today as he ever was. In 2026, I would go so far as to say that his peculiar misanthropy, his wounded disaffection, his sentimental insincerity, is the internet\u2019s house style.<\/p>\n

Gen Z posters are all Salinger\u2019s children. I suspect for a cohort with notoriously declining reading habits, Catcher <\/i>is among the few \u201cclassics\u201d they\u2019ve touched. Its moral world is almost identical to the whinging of a Redditor: like them, Caulfield is confessional, digressive, accusatory, and self-pitying. His account of being booted out of prep school, then marauding around Manhattan in various states of desolation or drunkenness, is littered with \u201cI means\u201d, \u201cand alls\u201d, \u201cor somethings\u201d, and \u201cI\u2019m not kiddings\u201d. He has a private taxonomy of \u201cphonies\u201d, and suspects, knows<\/i>, that the world is rigged against him. He is a lone seer, a font of authenticity in a cruel and fake world. His delusions are now Gen Z\u2019s.<\/p>\n

The novel\u2019s moral vocabulary maps clearly on to that of internet-native young people today: the worldview of TikTok, Twitter and Reddit \u2014 as well as darker, nicher places where true Holden chuds tend to congregate \u2014 is a bestiary of NPCs, normies, mids, soys, feds, goyslop and grifters. The politics and aesthetics of different corners of the internet vary wildly, but one theme is inextinguishable, whether it\u2019s on an \u201cAm I the Asshole\u201d Reddit page or the comment section of a TikTok rant: the poster holds all the authenticity. Everyone else has sold out, or bought into social performance; everyone else is spiritually compromised.<\/p>\n

In real life, this instinct is correct often enough: adults are <\/i>grotesque, like the novel\u2019s \u201cperverts and morons\u201d who cross-dress or spit water in each other\u2019s faces, visible to Holden in the windows of the midtown hotel he runs away to after being kicked out of school. He\u2019s also right that teachers often talk nonsense, expounding theories of the grown-up world which sound borderline fascist to teenaged ears; his history teacher Spencer bores him that \u201cLife is a game, boy\u2026 that one plays according to the rules\u201d. Seeing such aphorisms for the pap that they are doesn\u2019t take extraordinary wisdom, but a dash of cynicism makes teenagers \u2014 and many of 2026\u2019s failed-to-launch adults \u2014 feel like prophets.<\/p>\n

Adolescent eye-rolling is a shortcut to genuine insight, and many of the internet\u2019s favorite voices are suspended in that sighing phase well into their forties. When Catcher<\/i>\u2019s Holden does it, we read it as the trademark of a developing mind: though he correctly diagnoses the status games of adults, the snobberies of the rich and the pretensions of the charming, we guess that when he\u2019s older, when he\u2019s well, he\u2019ll learn to cope with these truths like the rest of us. But the internet feels no need to graduate beyond cynicism.<\/p>\n

Gen Z is the worst culprit: my generation \u2014 not just its blackpilled factions \u2014 is obsessed with exposing hierarchies or cabals, whether they relate to the sexual marketplace, the algorithm, Aipac, or nepo connections. We grew up in the shadow of 9\/11, in the rubble of its attendant conspiracy theories; our first memorable news cycle involved a global financial crisis followed by years of political polarization, cynical electioneering and, when we were finally flying the nest, the crippling isolation of a pandemic. We were primed to crouch, to second-guess. Catcher<\/i>, too, lies in the foothills of this paranoia. Everywhere Holden looks, phonies are \u201ccoming in the goddam window\u201d; Hollywood, military men and parents are all agents conspiring against him. No wonder he looks so good for 75.<\/p>\n

Today, the standard pose of the internet is pessimism packaged in irony. In 1951, this ennui was not yet the mass public style of teenagers. The novel\u2019s swings between tear-streaked earnestness and knee-jerk deflection are the bread and butter of contemporary posting: Holden tells us he \u201cfeels depressed\u201d or \u201cwent crazy\u201d, then shows us something bitterly funny or gross. Even his red cap functions as a sort of edgelord avatar; it\u2019s not his deerstalker but a \u201cpeople-shooting hat\u201d, he tells his dorm neighbor. Like an ironic gaming handle or meme-referencing profile picture, the hat is a costume of alienation.<\/p>\n

Read more My night in \u2018Mamdani-Ville\u2019<\/a><\/p>\n

Holden\u2019s great soft spot is the innocence of childhood, which he knows is slipping through his fingers as the adult world approaches. In some ways, the sentimentality of kids in Catcher<\/i> is like the internet\u2019s cat: the unknowing ball of tenderness that represents \u201cme if you even care\u201d is as sacred a symbol as the six-year-old boy Holden spots walking down Broadway with his parents, being ignored but mindlessly singing, in a sort of nursery rhyme, the Robert Burns poem that gives the novel its title. He says the sight \u201cmade me feel better. It made me feel not so depressed any more.\u201d Salinger\u2019s novel is about the uneasy transition between states of innocence and experience \u2014 the blank goodness of little children and the \u201cphony\u201d cynicism of adults. This, too, is why the internet loves cat videos: they are small oases in a land of division and gloom, talismans that keep out cheerless reality. You\u2019ll notice I\u2019m suggesting social media resembles the psyche of a fictional mentally ill teenager. This is deliberate.<\/p>\n

Salinger once admitted that Catcher<\/i> is about a \u201cboyhood [that] was very much the same\u201d as his own; \u201cit was a great relief telling people about it\u201d, he said. What he did not prophesy was that the feelings of his deeply unwell antihero would become a permanent cultural stance. Staring down the barrel of an impending depressive collapse, Holden insists he\u2019s simply \u201cgoing through a phase right now\u201d. He cycles through a clutch of fantasies over a single weekend \u2014 he is a shot-up mob victim, a suave lounge lizard, a cabin-dwelling deaf-mute. Yet today, Caulfield\u2019s volatile sense of self seems a little too familiar. These days, even fully fledged adulthood is pitched as a series of phases on an unending journey of growth and self-discovery.<\/p>\n

Analogs of Holden can be found everywhere online \u2014 many twice his age. They, too, vault between aesthetic, ideological, political, wellness and spiritual phases. So did Salinger himself, a dabbler variously in Sufism, macrobiotics, Dianetics and Zen Buddhism (he was said to have brought reading lists on the subject to dates, which I\u2019m afraid automatically limits my ability to like him personally).This is another of the novel\u2019s great predictions: that more people would become experimental and unstable, trying on identities, cures and postures like Mr Benn in the costume shop. In Catcher <\/i>it is impossible to imagine Holden settling into contented adult conformity; many modern readers might see his crisis not for the psychological collapse it is, but \u201cthe rational response to living under [insert complaint here: capitalism, the patriarchy, tyrannical colonialist curricula etc. etc.]\u201d.<\/p>\n

Because the novel is about a teenage boy, his preoccupations are timeless. He reads a magazine then worries that he might have \u201clousy hormones\u201d; he worries about when he\u2019ll lose his virginity, about whether his peers are outpacing him. He acts like an expert: \u201cGirls. Jesus Christ. They can drive you crazy.\u201d Really, like lots of dating gurus online, he knows naff all. Today he\u2019d be fretting about low-T, cortisol, canthal tilts; he\u2019d learn about sex not through the tall tales of his dorm-mates but from hardcore porn. In the novel he has a young prostitute sent to his hotel room: he feels aroused, scared, sentimental and disgusted. How like the porn-soaked discourse of the modern internet, where girls are mysterious and maddening, the cause of both rage and guilt. The difference is that in the novel, our sentimental screw-up is alone, and drives himself to lonely destruction. Today, whole forums would open up to counsel or compound his suffering.<\/p>\n

As in most spaces online, Catcher<\/i> is not the testimony of a predator; he is more familiar and pathetic than that, a boy terrified by a sexual world he longs to be initiated into. Every time he sees \u201cfuck you\u201d graffitied on a wall, he longs to erase it. Once, at his little sister\u2019s school, he does, so the children don\u2019t \u201cworry about it for a couple of days\u201d. Really, he\u2019s reacting to his own horror. He\u2019s happiest in the company of his \u201ckid sister\u201d, or in a snowball fight. Like Zoomers today, exposed to the adult internet, he must feel he\u2019s grown up too fast.<\/p>\n

Catcher <\/i>is not a period piece about mid-century adolescence; it\u2019s more like a prehistory of the online male voice. Social media amplifies the loud and the self-obsessed, so its stars are necessarily teenagers, if only spiritually. \u201cPhonies\u201d are today\u2019s NPCs; \u201chot-shots\u201d are our nepo babies or chads. The swaggadocio of the streamer is Holden, holder of zero life experience, hoping to \u201cwave a buck under [a] head-waiter\u2019s nose\u2026 in New York, boy, money really talks\u201d. But his real mission, before he is committed to an institution at the novel\u2019s close, is to preserve innocence itself, catching children playing in his imaginary field of rye before they fall off a cliff.<\/p>\n

In 2026, equivalent solutions to internal decrepitude are everywhere on the internet: young men are called to save morality or humanity or the West. The prescribed morality varies but its ingredients are familiar: mending oneself is a civilizational mission and, like Holden\u2019s child-saving fantasy, it counteracts perceived corruption \u2014 for example, of porn (among no-fappers), of seed oils (among clean-eaters) or of emasculating feminism (among redpill types). The instinct of many young men online is to transmute personal brokenness into evidence of a broken world: loneliness becomes decadence; mediocrity becomes victimhood of a conspiracy. In The Catcher in the Rye<\/i>, that sort of thinking gets Holden sent away to the funny farm. In 2026, such delusions of grandeur are a mark of sanity.<\/p>\n

Read more Can prog rock again?<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Seventy-five years ago this week, a book was released which, according to one exasperated parent, included 237 uses of the word \u201cgoddamn\u201d, 58 of \u201cbastard\u201d and 31 of \u201cchrissakes\u201d. 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