ON a gray winter afternoon Holden Caulfield, frozen to the quick by more than icy weather, crosses a country road and feels he is disappearing. This image of a bleak moral climate which destroys the soul is not only the keynote of J. D. Salinger's The Catcher in the Rye but of much that now seems representative of the general tone of American cultural commentary in the aftermath of World War Two, when the novel was conceived. By 1951 (the year of Catcher's publication) the ambiguities of the cold war, of American global power and influence, were stimulating a large popular audience to find new relevance in well-worn images of disaffection from the modern world. These, which historically had been identified with an aesthetic or intellectual elite, were increasingly being adapted to popular taste as they bore on current social and political concerns. The impact of David Riesman's classic sociological study, The Lonely Crowd, published one year before Catcher, may have paved the way for a new public concern with the disturbing subject of American character; but the immediate interest Riesman's book aroused and its relatively large sale suggest a readership already sensitized to the kind of anomie which Riesman described and from which Holden Caulfield suffers.

In a sense, Salinger's novel functions at a crossroads, a point on an aesthetic and spiritual journey that he was soon to leave behind.