Top 40 Albums of 2010

Before I begin, I need to make some clarifications. First, my top 40 album list obviously only includes records I have   heard. I am positive there are albums from 2010  that would make my list but I have yet to listen to them. For example, I have heard much positive press about Kanye West’s new album but I have yet to give it a full listen. Therefore, it is not on my list although its presence graces most of the lists I have seen so far.

Second, this list in a way projects how I believe my musical taste ought to look. In other words, while I enjoyed blasting Katy Perry’s “California Gurls” in the car as a joke, both my objective lens and my credibility demands that I don’t list Teenage Dream in the top 40 albums. Side note: I may or may not be joking about “California Gurls.”

Third, this list represents my tastes at a specific time. For this reason, some albums might be higher than they would be in 6 months because of the freshness they currently exhibit. Likewise, albums I enjoyed 6 months ago might be undersold on the current list.

Without further ado, below resides my top 40 albums of 2010.

40. Chatham County Line – Wildwood



This bluegrass band from Raleigh, North Carolina creates endearing music thick with harmony and banjos.



39. Bombay Bicycle Club – Flaws



Armed with a meek voice, the London-based Bombay Bicycle Club creates subtly melodic music.



38. Broken Social Scene – Forgiveness Rock Record



Better known for launching famous acts such as Feist and Metric, Broken Social Scene is a band that probably has featured everyone associated with the Toronto music scene at one point or another. Forgiveness Rock Record showcases the band’s intricate musicianship.



37. Belle & Sebastian – Write About Love



Write about Love provides simplistic and cheery pop music with no frills attached. This veteran band from Glasgow has mastered its sound.



36. Surfer Blood – Astro Coast



With reverb soaked guitars and fuzz-box riffs, this young Florida band has a similar sound to early Weezer. Astro Coast supplies promise for this band's bright future.



35. Shugo Tokumaru – Port Entropy



The unusual instrumentation offers a slightly Sigur Rós-ish vibe for this Japanese singer-songwriter. Port Entropy is a fun listen.



34. We Are Scientists – Barbara



From a musical standpoint, I love this band. The harmonies are tight and they use inventive guitar riffs. However, the lyrics on Barbara are awful. Perhaps, for me, the poor lyrical quality coincides with the band name. One would think that scientists would be good lyricists? Or maybe the moniker works because scientists are poor lyricists? I have no idea but it is strange.



33. The Radio Dept – Clinging to a Scheme



This Swedish, dream-pop band crafted a record full of danceable and melodic songs. Clinging to a Scheme was a good summer record.



32. Band of Horses – Infinite Arms



Characterized by sweetly, overdriven electric guitars and soft but assertive vocals, Band of Horses formed after the breakup of Carissa’s Wierd, a critically acclaimed Seattle band. Currently on a major labor, Band of Horses continues to write emotive rock with a southern accent.



31. Maps & Atlases – Per Patchwork



Sadly sacrificing some virtuosic guitar work for better melodies, Maps & Atlases’ first full length on Barsuk records nevertheless contains some excellent songs. While their old work produced a wow factor without singability, Per Patchwork offers a mix of catchy melodies and intricate musicianship.



30. Laura Marling – I Speak Because I Can



Writing music along the lines of Joni Mitchell, this 20-year old, urban folk artist carries a voice mature beyond her years.



29. The New Pornographers – Together



Energetic indie-rock from north of the border, the New Pornographers made headlines this year with numerous canceled shows based on their name alone. It’s too bad because they missed out on good music.



28. Mt. Desolation – Mt. Desolation



Mt. Desolation is a side project of Keane members Time Rice-Oxley and Jesse Quin. Their self-titled, first album dances between Keanish tracks and alt-country tunes. Using their keen sense of melody, the album is well-made.



27. Sufjan Stevens – All Delighted People EP



All Delighted People announced a new Sufjan Stevens. Where previous albums mixed pastoral folk tunes, a myriad of instruments, and reserved vocals, All Delighted People offered complex chord progressions and a highly technical vocal performance. However, the EP served mostly as a bridge between Sufjan’s older work and his new and entirely different full length, the Age of Adz.



26. Broken Bells – Broken Bells



The partnership of James Mercer from the Shins and Danger Mouse of Gnarls Barkley produced a quality record with an excellent song. While most of the self-titled record contained mediocre-to-good songs, “The High Road” was one of my favorite songs of 2010.



25. Foals – Total Life Forever



Although I’m not much of a fan of the vocal timbre and melodies, Foals write masterful guitar riffs. Since I’m a guitarist, I like that kind of stuff.



24. Janelle Monáe – The ArchAndroid



The ArchAndroid is an ambitious record by an ambitious artist. Blending R&B, Rock, Folk, and Symphonic influences, this album defies genres. I’m also a huge fan of the “Cold War” music video because of its bare aesthetic; I almost feel the pain.



23. Kings of Leon – Come Around Sundown



I'll be honest,Come Around Sundown could have used a producer. Each song seems slightly sloppy and a good producer makes sure to tighten up the rough edges on those songs. Nevertheless, lead singer Caleb Followill is one of my favorite vocalists. His voice sounds as if it was drenched in whiskey and cigarettes.



22. The Black Keys – Brothers



Brothers is an album of gritty, blues-rock by the duo from Akron, Ohio. The Black Keys write raw music with casual instrumentation.



21. Autolux – Transit Transit



Sounding similar to Kid A-era Radiohead, Autolox is an alternative rock trio from Los Angeles. Transit Transit blends electronic beats, careful vocals, and sweetly toned guitar melodies with beautiful results.



20. Guster – Easy Wonderful



Guster played a show a few years ago at the University of Washington. That same day, Arcade Fire was playing a show in the same area. During Guster’s set, the lead singer asked the crowd, “Why are you here when Arcade Fire is playing?” That question perfectly sums up how Guster feels about themselves. They are making simple and happy music but nothing earth shattering and profound. Easy Wonderful sounds like every other Guster record: Fun melodies in major keys.



19. Midlake – The Courage of Others

 

The Courage of Others sounds as if it was recorded in the 1970s. With an analog sound and thickly layered harmonies, Midlake takes their listeners back to the days preceding Clear Channel and manufactured pop groups (Monkees notwithstanding).



18. Minus the Bear – OMNI



The straight-forward nature of the lyrical content in OMNI makes me long for the days of double-entendre. Minus the Bear remain at this elevated position on my list because of the innovative work of guitarist Dave Knudson who mixes looping, tapping, and unusual pedals for a truly unique sound.



17. The Morning Benders – Big Echo



Produced by Grizzly Bear bassist, Chris Taylor, Big Echo sounds remarkably and/or ironically like Grizzly Bear. From crooning vocals to large sounding drums to vast melody jumps, the Morning Benders liberally use the Grizzly Bear playbook. If I hated Grizzly Bear, I’d call it plagiarism. Good thing I like Grizzly Bear.



16. The Walkmen – Lisbon



Rocking a four-on-the-floor beat and jangly guitar riffs, this New York, indie band seems to be every hipster’s favorite. Personally, I am a fan of Hamilton Leithauser’s vocals. It sounds like he has phlegm at the bottom of his throat that he probably should have cleared out before the show. Yum.



15.  Ray Lamontagne & the Pariah Dogs – God Willin’ and the Creek Don’t Rise



Blessed with the finest of vocal cords known to humanity, Ray Lamtontagne wows with his voice every time he takes the stage. God Willin’ and the Creek Don’t Rise introduces a new backing band for Lamontagne. Where previous albums contained minimal instrumentation, God Willin’ and the Creek Don’t Rise adds some twang.



14. Spoon – Transference



Lead singer Britt Daniel channels his inner Mick Jagger on this album. Transference is a noisy record full of mashed piano and overdriven guitars. “Written in Reverse” is one of my favorite tracks of the year.



13.  The Head and the Heart – The Head and the Heart



The Head and the Heart seem to be on a similar career path to Fleet Foxes. Just like Fleet Foxes rose to fame out of relative obscurity in a matter of months, 2010 observed the Head and the Heart release a record, play shows locally, and out of nowhere share the stage with bands such as Vampire Weekend. The highlight of their self-titled album is the song, “Down in the Valley.” When they sing, “Lord have mercy on my rough and rowdy ways,” I get goosebumps.


The Doe Bay Sessions - The Head & The Heart from Sound on the Sound on Vimeo.

12. Beach House – Teen Dream



This reverb-soaked record by the Maryland duo, Beach House, has a dream-like aesthetic. I am big fan of the melodies and the sonic picture the band paints. Go dream pop.



11. Tokyo Police Club – Champ



Full of energy, Champ is a fun and listenable record. In particular, I enjoyed the guitar work on this album. Listen to this Canadian band jam on my favorite song off the record, “Bambi.”



10. Mumford & Sons – Sigh No More



Mumford & Sons suffer a lower placement on this list than I would normally give because they are popular. I know it is not their fault that they are popular but it saddens me when a band who mimics another band – in this case Mumford sounds similar to Fleet Foxes – becomes more popular than the band they mimic. Nevertheless, Sigh No More is an excellent album. Plus, the song, “Little Lion Man,” almost won catchiest cuss word of the year.



9. Vampire Weekend – Contra



This Ivy-League-educated band released Contra in January and the album took up space in my play list for most of the year. When I listen to Contra, I feel like I ought to be on a yacht. I’ve never been on a yacht so I am unsure if this feeling is correct but the record surely seems best suited for yachting. “Giving Up the Gun,” was a top song of the year for me and the music video is kind of funny. Warning! Jake Gyllenhaal is in it.



8. Junip – Fields



A Swedish band featuring José González, Junip's album, Fields, exhibits González’s trademarked, nylon-stringed classical guitar coupled with synthesizers and drums.



7. Cee Lo Green – The Lady Killer



The Lady Killer provides maximum soul voltage. With a Motown vibe and slick instrumentation, this record is exceedingly singable. Cee Lo Green’s buttery voice makes me hungry. This record also features the catchiest naughty word of the year in the song, “Fuck You.” I’ve been singing it for weeks. Don’t tell anyone.



6. Jónsi – Go



The solo project of the Sigur Rós lead singer, Go resembles some of Sigur Rós’ recent work. With heavily syncopated drum beats and eclectic instrumentation layering over beautiful melodies, Go seems to be the direction Jónsi always meant to take. Go is a stunning record.



5. The Tallest Man on Earth – The Wild Hunt



I have always felt that the singer-songwriter has the most difficult job in the music industry. While huge bands offer a wide variety of visual distractions in a live setting, the singer-songwriter supplies a guitar and a voice to the concert. He or she can’t hide behind anything. For this reason, I have an affinity for singer-songwriters who successfully keep my attention. The Tallest Man on Earth – a moniker for Swedish folk singer, Kristian Matsson – is one such artist. With a voice that eerily resembles Bob Dylan, narrative lyrics, and intriguing musicianship, The Wild Hunt showcases Matsson at his best.



4. Arcade Fire – The Suburbs



Although Arcade Fire received almost universal acclaim for their past albums, I have yet to truly appreciate these praises. The Suburbs, however, changed my mind. Not meant as an indictment or exaltation of suburban life, lead singer Win Butler crafts an album wrought with the feelings of suburban America. In a sense, this album feels like a documentary profiling a slice of American culture. Without a weak song on the record, the Suburbs amazed me from first listen.



3. Sufjan Stevens – The Age of Adz

 

Sounding entirely different from his previous work, the Age of Adz alienated many Sufjan Stevens fans. Numerous listeners miss the old Sufjan, strumming a banjo and singing about states. In contrast, the Age of Adz leans heavily on glitchy, electronic noises and drum machines. On first listen, my thoughts resembled the popular and negative opinions about the record. Since then, my opinion clearly has changed so let me try and convince you. The album title and artwork references Royal Robertson, a schizophrenic American artist who felt demonized by the apocalypse and internal struggles over love lost. In short, the glitchy and sometimes chaotic music resembles apocalyptic events, while Sufjan sings about falling in and out of love. Ultimately, the noise represents a perfect metaphor for the difficulty of maintaining a relationship.



2. James Vincent McMorrow – Early in the Morning



James Vincent McMorrow reminds me of Damien Rice but with a more angelic voice. The Dubliner recently signed with an American record label and this album should be released shortly in the United States. Early in the Morning graces such lofty heights on this list due to McMorrow’s well-crafted melodies and stunning voice. I am floored by the capability of his voice that easily flutters in falsetto.



1. The National – High Violet



Every second of this album is perfectly constructed. High Violet remained in my album rotation since its release. With the lead singer recently becoming a father, the lyrics in this record display a man scared to death about the future and what it means to provide for a human life. Tracks like “Afraid of Everyone” and “Conversation 16” portray deeply held anxiety and paranoia as a father views the world in a new way. High Violet is a times depressing, at times anthemic, and always worth a listen.

Book Review: No Country for Old Men

No Country for Old Men by Cormac McCarthy (New York: Vintage International, 2005. 320 pp)

Cormac McCarthy was born in Rhode Island in 1933. One of six children, Cormac’s family moved multiple times in his childhood as his father accepted different occupations. In 1951, McCarthy attended the University of Tennessee majoring in Liberal Arts. Midway through his studies, McCarthy served in the Air Force for four years. After his service, McCarthy returned to college writing his first short stories. In 1959 and 1960, he won the Ingram-Merrill Award for Creative Writing. Mccarthy’s first novel, The Orchard Keeper, was published in 1965. Several years, grants, and fellowships later, McCarthy published Suttree, Blood Meridian, and All the Pretty Horses marking his rise in literary acclaim. McCarthy is widely considered one of the great modern American authors and many of his works have been translated to film.

Who Actually Lives Happily Ever After?

It seems to me that there is a need for redemption engrained into humans as they encounter a story. If the narrative does not conclude with a “they lived happily ever after” motif, viewers leave unsettled and more than likely not enjoying the story. Redemption is a powerful motif; nothing pulls the heart-strings better than a down-on-her-luck character figuring it out and finding happiness. In my mind, however, life does not always resemble these idealized redemptive stories. Sometimes, bad things happen to good people; sometimes, good things happen to bad people. In McCarthy’s No Country for Old Men, the narrative follows this motif with disquieting results.

No Country for Old Men details the intertwining movements of three characters: Llewelyn Moss, a law-abiding Vietnam veteran; Ed Tom Bell, a small-town sheriff; and Anton Chigurh, a sociopathic killer for hire. While hunting in the Mexico-Texas border country, Llewelyn Moss happens upon the aftermath of a drug-runner shootout and finds a bag containing over 2 million dollars. By taking the cash, Moss thrusts himself into the crosshairs of the ruthless murdering spree of Anton Chigurh.

The Mind of a Killer

Chigurh’s character is the most chilling human depiction I have ever read. First, every scene Chigurh enters results in death and destruction. Second, Chigurh carries no emotion and allows “fate” or “destiny” to make his decisions. He often allows a coin-flip to decide the fate of his victims.

“Chigurh took a twenty-five cent piece from his pocket and flipped it spinning into the bluish glare of the fluorescent lights overhead. He caught it and slapped it onto the back of his forearm just above the bloody wrappings. Call it, he said.”

“Call it?”

“Yes.”

“For what?”

“Just call it.”

“Well I need to know what it is we’re callin here.

“How would that change anything?”

“The man looked at Chigurh’s eyes for the first time. Blue as lapis. At once glistening and totally opaque. Like wet stones. You need to call it, Chigurh said. I can’t call it for you. It wouldn’t be fair. It wouldn’t even be right. Just call it” (55-56).

A Scene from No Country for Old Men/Miramx Films

Not only does Chigurh place the life of his victim in a coin-flip, he also uses a cattle gun as a unique execution device. Such a chilling account raises an interesting philosophical question. Is McCarthy’s representation of a serial killer considered art? On one hand, his finely crafted character represents everything that is evil with the world. Yet, on the other hand, is such a vivid representation of malevolence and nihilism prone to creating copy-cats? I remember hearing a story about a movie that accurately depicted the cracking of a bank safe. Weeks after its release, an uptick in bank robberies occurred. Should we view art differently if it affects real life? While I have not heard stories about mass-murderers mimicking Anton Chigurh, the possibility of such an occurrence frightens me.

A Sliver of Hope

In between Moss and Chigurh resides Sheriff Bell, the man charged with hunting down Chigurh and protecting Moss. As bodies pile up, Bell struggles with the toll of such dark circumstances. Nevertheless, he carries the slightest sliver of hope.

“People complain about the bad things that happen to em that they don’t deserve but they seldom mention the good. About what they done to deserve them things. I don’t recall that I ever give the good Lord all that much cause to smile on me. But he did” (91).

McCarthy’s dense and precise writing implies the gravity of the novel. The themes sit with you long after the last page turns. Not much redemption exists within the text of No Country for Old Men but redemption is not the point of the book. Dark, dreary, and depressing things happen in the world and Cormac McCarthy documents these happenings well in the novel. In fact, a happy ending in this novel betrays the premise of the book. Life is tough and the good guy does not always win. However, life goes on. No Country for Old Men is a masterpiece worth reading.

Film Review: Black Swan

Black Swan directed by Darren Aronofsky (Fox Searchlight Pictures, Protozoa Pictures, and Phoenix Pictures, R, 108 minutes.)

Starring Natalie Portman, Mila Kunis, and Vincent Cassel.

Screenplay by Mark Heyman and Andres Heinz.

More Beethoven, Less Danielle Steel

When one labels something romantic, the modern mind conceives its definition as love, relationships, and happy endings. On the other hand, the 19^th century conception of Romanticism espoused in symphonies, ballets, and stories exhibits deep-felt emotion such as love, suffering, anxiety, and death. The conception of romanticism illustrated in Black Swan resembles the classical sense of the word pointing the viewer to deeply rooted emotions and actions. Similar to previous psychological thrillers directed by Aronofsky such as Pi and Requiem for a Dream, Black Swan dives into themes of paranoia, schizophrenia, and ballet.

Just Dance

The film follows a brittle and timid ballerina named Nina Sayers (Natalie Portman). The beginning of a new ballet season provides artistic director Thomas Leroy (Vincent Cassel) with reason to insert fresh blood in the role of prima ballerina for Swan Lake. Obsessed with dance and influenced by an over-controlling mother, Nina is primed for obtaining the headlining position. The lead role in Swan Lake necessitates a performer capable of elegantly dancing the part of the white swan and sensually dancing the part of the black swan. In Nina’s case, her precise moves and shy demeanor represent the white swan well. Yet, her timidity poorly translates to dancing the part of the black swan.

Furthermore, a new dancer named Lily (Mila Kunis) perfectly assumes the dark and sensual character of the black swan. This competition for the prima ballerina role forces Nina to channel a dark and wild character contrary to her personality; one that threatens to consume her. As the movie unfolds, Nina Sayers spirals into darker corners of her psyche believing that everyone is her enemy scheming to ruin her.

Be You Warned, It Is Suspenseful

Black Swan is brilliantly written, acted, and directed. While slightly and, more than likely, intentionally annoying, the timidity of Natalie Portman’s character is believable and renders the psychological aspects of the movie into reality. The film pushed me to the edge of my seat through impressive visuals, intense dialogue, and suspenseful scenes.

Impressively, Aronofsky craftily weaves humor into the story allowing the viewer to never fully be consumed in the darker themes of the narrative. These brief moments of levity supply the viewer with a counterbalance to some grisly images and suspenseful scenes almost fitting for horror genres.

Ultimately, Black Swan fits into classical romanticist models of story-telling. Instead of a straight-forward story with a happily-ever-after ending, Black Swan portrays the emotions reserved for the deepest depths of the soul. I wholeheartedly recommend this movie.

Book Review: Water for Elephants

Water for Elephants: A Novel by Sara Gruen (Chapel Hill: Algonquin Books, 2006. 350 pp)

A Canadian-born dual citizen, Sara Gruen lives in North Carolina with her husband and three children. With a background in technical writing, Gruen is a devoted animal lover who has written numerous books dedicated to the relationship between animals and humans. While Water for Elephants tops the best-seller list, Gruen’s books also include Riding Lessons, Flying Changes, and The Ape House.

Step Right Up

Water for Elephants follows the life of Jacob Jankowski, an almost Ivy League educated veterinarian working in the Depression era circus industry. Although Jacob intended to follow in his father’s footsteps as a small-town veterinarian, an unfortunate accident left him orphaned and unable to afford his final classes.

With no hope for a future and an empty wallet, Jacob jumps on the circus train hoping for a fresh start. After he’s hired, Jacob finds himself immersed in circus culture befriending a motley assortment of characters. As the story unfolds, Jacob begins to fall in love with Marlena, a circus performer and wife of Jacob’s tumultuous boss, August. Despite attempts to curb these feelings, Jacob’s desire for Marlena unfolds a narrative of danger and intrigue.

The Great Depression: Where Sin and Whiskey Flow

The setting of Water for Elephants reminds me of the HBO show, Carnivale. From bootlegged whiskey to morally dubious characters, Gruen creates a gritty circus world. Most of the plot movement surrounds the circus train as the show travels from one city to another. In turn, the activity in the book includes the sights, sounds, and dangers of a moving train. I felt the rhythmic clatter of the rails and the dark, forested oblivion merely a stone’s throw from the track.

In Conflict

Even though Gruen successfully transported my mind into the Great Depression circus business, I found a few elements lacking. First, the portrayal of the inevitable conflict between Jacob, Marlena, and August never convinced me enough to take a rooting interest in the matter. As the story unfolds and couples fall in and out of love, I hardly cared. Of course, Gruen carefully points the reader toward the protagonist and against the antagonist but it always seemed forced, as if the story had to be written the way it was. In other words, where I wanted to be surprised, I found a formulaic love story.

Second, Gruen employs a dual narrative where the reader follows the story of Jacob in the Depression era and the modern, 90 or 93 year-old Jacob living in a nursing home. As the book unfolds, I became increasingly annoyed with the “cut-away scenes” in the nursing home. Not only is 90 year-old Jacob crotchety and annoying, but also these cut scenes broke apart an immersing story with excellent flow.

Water for Elephants is an entertaining-but-flawed read. The carefully researched depiction of the circus industry truly immerses the reader in an historical setting, yet the narrative teeters on the cliff of a formulaic love story and the scenes with the 90 year-old Jacob hinder the flow. Nevertheless, the book entertained me and I recommend it to those interested specifically in the dirty and gritty stories of the Depression era circus industry.

Book Review: The Catcher in the Rye

The Catcher in the Rye: A Novel by J.D. Salinger (New York: Little, Brown and Company, 1951. 214 pp)

Born in New York City in 1919, J.D. Salinger is famously known for his novel The Catcher in the Rye written in 1951. Although Salinger published a few works before and after this novel, the success of it led him to a reclusive lifestyle. His last public interview was granted in 1980. Salinger is also noteworthy for the legal battles he encountered around unauthorized biographies written about him. Salinger died of natural causes in January 2010.

Sometimes I Feel Like Holden Caulfield

The Catcher in the Rye marks the beginning of my pursuit to read books of the 20^th century canon which I missed in high school. While reading this book, I could not help but imagine how the main character, Holden Caulfield, would look and act in the 21^st century. He was born into privilege yet he flunks out of numerous private schools. Additionally, his lack of respect for authority and use of slang reminds me somewhat of Jamie Kennedy’s rich, hip-hop-white-boy character in Malibu’s Most Wanted.

Flunking Life

Salinger’s novel begins with Holden learning of his expulsion from yet another school for wretched grades. Even though he pretends not to care about this bad news, the subsequent manner in which he treats his schoolmates betrays his regret and despair for ruining another opportunity. Holden’s venomous nature is on display as he packs his belongings and leaves the school dormitories for the last time:

“When I was all set to go, when I had my bags and all, I stood for a while next to the stairs and took a last look down the goddam corridor. I was sort of crying. I don’t know why. I put my red hunting hat on, and turned the peak around to the back, the way I liked it, and then I yelled at the top of my goddam voice, “Sleep tight, ya morons!” I’ll bet I woke up every bastard on the whole floor. Then I got the hell out. Some stupid guy had thrown peanut shells all over the stairs, and I damn near broke my crazy neck” (52).

In turn, this expulsion provides Holden with the opportunity to explore New York for a few days before he is due home for Christmas break.

What It Means to Grow Up

With a modest sum of money, Holden explores Manhattan. From seedy hotels and bars to jazz clubs and the American Museum of Natural History, Caulfield meets shady, amusing, and original characters. Despite these adventures, Holden feels the stinging pain of loneliness and the daunting question of what he will do with the rest of his life. On one hand, his machismo leads him to proclaim,

“I’m sort of glad they’ve got the atomic bomb invented. If there’s another war, I’m going to sit right the hell on top of it. I’ll volunteer for it, I swear to God I will” (141).

Holden clearly desires to take life by the horns and defeat it. Yet he also realizes that he wants to help others even if they are all “phony,” the most popular phrase he attributes to the rest of the world. This position is vividly made clear when Holden confides to his sister,

“Anyway, I keep picturing all these little kids playing some game in this big field of rye and all. Thousands of little kids, and nobody’s around – nobody big, I mean – except me. And I’m standing on the edge of some crazy cliff. What I have to do, I have to catch everybody if they start to go over the cliff – I mean if they’re running and they don’t look where they’re going I have to come out from somewhere and catch them. That’s all I’d do all day. I’d just be the catcher in the rye and all. I know it’s crazy, but that’s the only thing I’d really like to be. I know it’s crazy” (173).

In revealing his anxieties in this section, Holden’s true intentions become known. Yes, he is an immature punk most of the time; he flunks out of school, and speaks vulgarly. But his concern ultimately lies with the safety and success of others. The Catcher in the Rye is a classic coming-of-age tale that contains layers of intrigue and I wholeheartedly understand its inclusion in the 20^th century literary canon. I recommend reading this book if you have yet to experience the character of Mr. Caulfield.