AP Language and Composition: Summer Assignment 2016­2017

AP Language and Composition is a junior level course designed to challenge students with an

authentic college English experience centered on analysis, perseverance, and academic

responsibility. All assignments from the summer work (annotations, rhetorical/literary examples,

and The Catcher in the Rye study guide) are due on the first day of class. No late work will be

accepted. If you will not be in attendance, be certain that your work is. These assignments are to be

completed independently as they should reflect the views, interpretations, and abilities of each

individual student.

You may email me during the summer with any questions: qdisandro@fjuhsd.org

Assignment #1: Reading and Annotation.

Self­Reliance – Emerson

Print the following text Self Reliance by Ralph Waldo Emerson.

www.emersoncentral.com/selfreliance.htm

Be certain to thoughtfully annotate. Highlighting is not annotating. Think of annotations as your

personal questions or observations about the author, the author’s style, the language being used,

the audience being addressed, and the message or issue being conveyed. Annotating leads to a

deeper reading of and a more deliberate engagement with a text. When it comes to annotations,

content is more important than format. Make your annotations in the margins of the text, or keep

them in a spiral notebook. You are encouraged to reread passages, for understanding or pleasure,

as necessary.

On the first day of class, I will collect your annotations from the Emerson selection.

Assignment #2 ­ Rhetorical Strategies/Literary Devices Examples

Below you will find a list of 93 specialized words and phrases used in AP Language and Composition

as well as AP Literature. The definitions have been provided to you.

On a separate piece of paper, write each rhetorical strategy or literary device. Then, next to it

write an example or two for it. You cannot use examples that are provided for you on the list.

Examples can be found online.

About a week before school begins, go to the list and study words 1­20 (adage to colloquial) as we

will have a quiz on the first twenty words during the first or second week of school.

Assignment # 3 ­ Read the novel The Catcher in the Rye by J.D. Salinger and Complete Study Guide.

You can purchase your own copy, or obtain a copy from the school library up until May 26.

The Catcher in the Rye can also be found at any public library.

As you read the novel, fill out the chapter study guide. I've attached the study guide at the bottom

of this page for you to download, print, and write your answers. I will collect this study guide on the

first day of school and within the first two weeks of school; we will discuss this novel and take a

short exam that will include the vocabulary you see listed in some of the chapters of the study

guide.

IMPORTANT NOTE: The page numbers listed in the study guide may not be the same page numbers

in the novel you are using. The page numbers in the study guide match the novel version we use at

school (with the white cover). You can either go to school and try to check one out from the library,

or you can search for the pattern in the version you are using. In other words, find the correct page

number either a few pages forward or a few pages back, and that same pattern will usually be the

same throughout the version you are using.

Here’s what you need for the first day of school:

1. Read and annotate Emerson's Self­Reliance.

2. Write an example for each rhetorical strategy/literary device.

2. Read The Catcher in the Rye

4. Complete study guide for The Catcher in the Rye.

5. Study the first twenty rhetorical strategy/literary devices for quiz.

6. Review The Catcher in the Rye study guide and vocabulary words (on the

study guide). Be ready for for the exam during the second week of school.

Good Luck! See you when school starts.

The handout has been modified by one originally created by John Baker.

Rhetorical Strategies and Literary Devices

1. adage­ a familiar proverb or wise saying. The early bird gets the worm.—or—The second mouse gets the cheese.

2. ad hominem argument­ attacking the character of the arguer rather

than the argument itself

3. allegory­ the device of using character and/or story elements

symbolically to represent an abstraction in addition to the literal

meaning. In some allegories, for example, an author may intend the

characters to personify an abstraction like hope or freedom. The

allegorical meaning usually deals with moral truth or a generalization

about human existence.

4. alliteration­ the practice of beginning several consecutive words with

the same sound.

5. allusion­ a reference to mythological, literary, or historical person,

place, or thing.

6. anadiplosis­ the repetition of the last word of one clause at the

beginning of the following clause. Fear leads to anger; anger leads to hate; hate leads to suffering.—Yoda

7. ambiguity­ allows for two or more simultaneous interpretations of a

word, phrase, action, or situation, all of which can be supported by the

context of a work.

8. analogy­ A similarity or comparison between two different things or

the relationship between them.*See extended analogy as well.

9. anaphora­ [un­naf­er­uh] One of the devices of repetition, in which

the same expression (word or words) is repeated at the beginning of two

or more lines or sentences.

10. anecdote­A short narrative detailing particulars of an interesting

episode or event. The term most frequently refers to an incident in the

life of a person.

11. antecedent­ the word, phrase, or clause to which a pronoun refers In the sentence “Peter was more than unhappy for he couldn’t sleep at

night,” “Peter” is the antecedent for “he.”

12. antithesis­ The juxtaposition of contrasting words, often in parallel

structure. “Place your virtues on a pedestal; put your vice under a rock. –or—Extremism in defense of liberty is no vice, moderation in the pursuit

of justice is no virtue.”—Barry Goldwater

13. aphorism­ A terse statement of known authorship which expresses a

general truth or a moral principle. (If an authorship is unknown, the

statement is generally considered to be a folk proverb). “It is better to be hated for what one is than loved for what one is not.”—Andre Gide

14. apostrophe­a form of personification in which the absent or dead

are spoken to as if present and the inanimate as if animate. They are

addressed directly.

15. appositive­a noun or noun phrase that follows another noun

immediately or defines or amplifies its meaning. John and Jane, two

excellent students, passed the AP test.

16. asyndeton­the omission of conjunctions between related clauses—I came, I saw, I conquered.

17. bathos­insincere or overly sentimental quality of writing/speech

intended to evoke pity.

18. chiasmus­ a statement consisting of two parallel parts in which the

second part is structurally reversed. Susan walked in, and out rushed

Mary.

19. cliché­an expression that has been overused to the extent that its

freshness is worn off. We’re not out of the woods yet!

20. colloquial/colloquialism­ The use of slang or informalities in speech

or writing. Not generally acceptable for formal writing, colloquialisms

give a work a conversational, familiar tone. Colloquial expressions in

writing include local or regional dialects.

21. complex sentence­ a sentence with one independent clause and at

least one dependent clause. When he handed in the homework, he

forgot to hand in the last page. In this sentence, the dependent clause is “When he handed in the homework.” The students are studying because they have a test tomorrow. In this sentence, the dependent clause is “The students are studying because.”

22. compound sentence­ a sentence with two or more coordinate

independent clauses, often joined by one or more conjunctions. Alex played football, so Maria went shopping. or I tried to speak French, but my friend spoke the language better.

23. conceit­ A fanciful expression, usually in the form of an extended

metaphor or surprising analogy between seemingly dissimilar objects. A

conceit displays intellectual cleverness as a result of the unusual

comparison being made. For example, comparing a prison cell to the

world or an icy garden to your heart.

24. context­ the convergence of time, place, audience, and motivating

factors in which a piece of writing is situated.

25. circumlocution­ the use of an unnecessarily large number of words

or an indirect means of expression to express an idea so as to affect an

evasion in speech.

26. declarative sentence­ a sentence that makes a statement or

declaration The sky is blue.

27. dialect­ a variety of speech characterized by its own particular

grammar or pronunciation, often associated with a particular

geographical region.

28. diction­author’s word choice. Includes connotation/denotation and

levels of formality

29. double entendre­the double (or multiple) meanings of a group of

words that the speaker or writer has purposely left ambiguous; one

meaning is usually risqué. If I said you had a beautiful body, would you

hold it against me?

30. ellipsis­ the omission of one or more words, which must be supplied

by the listener or reader; the omission of a word or phrase which is

grammatically necessary but can be deduced from the context.

Adjective: elliptical or elliptic. Plural, ellipses. Ex: "Some people go to

priests; others to poetry; I to my friends “(Virginia Woolf). In this

example, the word “go” has been omitted in the second and third

phrases.

31. epigram­a brief, pithy, and often paradoxical saying

32. epigraph­a saying or statement on the title page of a work, or used

as a heading for a chapter or other section of work

33. epithet­ a term used to point out a characteristic in a person.

Homeric epithets are often compound adjectives (“swift­footed

Achilles”) that become an almost formulaic part of a name. Epithets can

be abusive or offensive but are not so by definition. For example,

athletes may be proud of their given epithets (“The Rocket”). Another

example might be “Richard the Lion­Hearted.”

34. epistrophe­[i­pis­truh­fee] the opposite of anaphora, repetition at

the end of successive clauses. They saw no evil, they spoke no evil, and

they heard no evil.

35. ethos­ the appeal of a text to the credibility and character of the

speaker, writer, or narrative.

36. euphemism­an indirect expression of unpleasant information in such

a way as to lessen its impact. Passed away instead of died.

37. expletive­ an interjection to lend emphasis; sometimes, a profanity

38. extended analogy/metaphor­an extended passage arguing that if

two things are similar in one or two ways, they are probably similar in

other ways as well. An extended example is carried through several

sentences or paragraphs.

39. homily­ literally means “sermon,” but more informally, it can include

any serious talk, speech, or lecture involving moral or spiritual advice

40. hyperbole­a deliberate, extravagant, and often outrageous

exaggeration: e.g., “The shot heard ‘round the world.” or “There are a million other things to do.”

41. ibid­ the term is Latin to provide a footnote citation for a source that

was cited in the preceding endnote or footnote; it serves a similar

purpose to “ditto marks” (“). It can appear as “Ibid” or “Ib. at 29” in a

footnote.

42. imagery­consists of words or phrases a writer uses to represent

persons, objects, actions, feelings, and ideas descriptively by appealing

to the senses.

43. invective­ Denunciatory or abusive language; discourse that casts

blame on somebody or something.

44. verbal irony­when a speaker says one thing while meaning the

opposite.

45. situational irony­when a situation turns out differently from what

one would expect normally—though the twist is oddly appropriate.

46. dramatic irony­when a speaker or character says or does something

that has a different meaning from what he or she thinks it means;

though, the audience and other characters understand the full

implications of the speech or actions.

47. litotes­ a type of understatement in which an idea is expressed by

negating its opposite (describing a particularly horrific scene by saying,

“It was not a pretty picture.”

48. logos­an appeal to logic

49. loose (cumulative) sentence­ A type of sentence in which the main

idea (independent clause) comes first, followed by dependent

grammatical units such as phrases and clauses. I write this at a wide

desk in a pine shed as I always do these recent years, in this life I pray

will last, while the summer sun closes the sky to Orion and to all the

other winter stars over my roof."

50. malapropism­ the mistaken substitution of one word for another

that sounds similar. Malapropism is one type of solecism. The doctor wrote a subscription.

51. metaphor­ a comparison of two unlike things not using “like” or

“as.”

52. mood­the atmosphere or predominant emotion in a literary work.

(Different from tone since this is what the reader feels.)

53. metonymy­ from the Greek meaning “substitute name.” A figure of

speech in which the name of one object is substituted for that of

another closely associated with it. The White House declared rather than The President declared. or The pen is mightier than the sword.

Rather than Writing is more powerful than war/fighting.

54. non sequitor­ an illogical inference that does not follow logically

from the premises (literally, “does not follow”)

55. onomatopoeia­ the use of words to mimic sounds they describe

“Buzz” or “Moan”

56. oxymoron­a form of paradox that combines a pair of opposite terms

in a single unusual expression: “sweet sorrow” “thunderous silence”

57. paradox­occurs when the elements of a statement contradict each

other.

58. parallelism­ the grammatical or rhetorical framing of words,

phrases, sentences, or paragraphs to give structural similarity. For

parallel structure, balance nouns with nouns, prepositional phrases with

prepositional phrases, main clauses with main clauses, and so on—in

one paper, whole paragraphs can parallel other paragraphs. In A Tale of Two Cities, Dickens writes, “It was the best of times, it was the worst of

times, it was the age of wisdom, it was the age of foolishness, it was the

epoch of belief, it was the epoch of incredulity.”

59. parody­A work that closely imitates the style or content of another

with the specific aim of comic effect and/or ridicule.

60. pathos­ an appeal to emotions or interests of the audience;

Adjective: pathotic

61. periodic sentence­A sentence that presents its central meaning in

the main clause at the end. This independent clause is preceded by a

phrase or clause that cannot stand alone. Ecstatic with my AP score,

running into the room, I let out a loud shout!

62. personification­ gives inanimate objects or abstract ideas human

characteristics.

63. polysyndeton­ (opposite of asyndeton) the use, for rhetorical effect,

of more conjunctions than is necessary or natural. We lived and laughed and loved and left.—or—It was not for love nor sin nor hate nor forgiveness.

64. predicate adjective­ One type of subject complement—an adjective,

group of adjectives, or adjective clause that follows a linking verb.

65. predicate nominative­ A second type of subject complement—a

noun, group of nouns, or noun clause that follows a linking verb and

renames the subject.

66. pun­a play on words, often achieved through the use of words with

similar sounds but different meanings.

67. qualifiers – words/phrases that limit the force of an author’s claim.

Qualifiers are words like most, some, few, etc.

68. rhetorical question­ a question posed by the speaker or writer not to

seek an answer but instead to affirm or deny a point simply by asking a

question about it

69. repetition­ The duplication, either exact or approximate, of any

element of language, such as a sound, word, phrase, clause, sentence, or

grammatical pattern.

70. sarcasm­the use of verbal irony in which a person appears to be

praising something but is actually insulting it.

71. satire­ a work that targets human vices and follies or social

institutions and conventions for reform and ridicule. Regardless of

whether or not the work aims to reform human behavior, satire is best

seen as a style of writing rather than a purpose for writing. It can be

recognized by the many devices used effectively by the satirist: irony,

wit, parody, caricature, hyperbole, understatement, and sarcasm. Good

satire, often humorous, is thought provoking and insightful about the

human condition.

72. simile­a comparison of two different things or ideas through the use

of “like” or “as.”

73. solecism­ nonstandard grammatical usage; a violation of

grammatical rules

74.subject complement­ the word (with any accompanying phrases) or

clauses that follows a linking verb and complements, or completes the

subject of the sentence by either (1) renaming it or (2) describing it.

75. subordinate clause­ this word group contains both a subject and a

verb, but unlike the independent clause, the subordinate clause cannot

stand alone; it does not express a complete thought.

76. syllepsis­ a type of zeugma in which the yoked words or phrases

manifest a grammatical or semantic disparity. For example, in the

sentence “The car was stolen, the bicycles left untouched,” the verb

“was” is grammatically correct with respect to the car but incorrect with

respect to the bicycles.

77. syllogism­ a deductive system of formal logic that presents two

premises (the first one called “major” and the second, “minor”) that

inevitably lead to a sound conclusion. All men are mortal. Socrates is a

man. Therefore, Socrates is mortal.

78. symbolism­any object, person, place, or action that has both a

meaning in itself and that stands for something larger than itself.

79. syntax­ The way an author chooses to join words into phrases,

clauses, and sentences.

80. synecdoche­using one part of an object to represent the entire object. For example, referring to a car simply as “wheels”

81. thesis­ the sentence or group of sentences that directly expresses the

author’s opinion, purpose, meaning, or position.

82. theme­central message of a work; the insight it offers into life.

83. tone­the writer’s or speaker’s attitude towards a subject, character, or

audience, and it is conveyed through the author’s choice of words and detail.

84. trope­ an artful variation from expected modes of expression of thought

and ideas; a figure of speech involving a “turn” or change of sense—a use of the

word in a sense other than its proper or literal one. Common types of tropes

include metaphor, synecdoche, metonymy, personification, hyperbole, litotes,

irony, oxymoron, onomatopoeia, etc.

85. tautology­ needless repetition which adds no meaning or understanding

(redundancy) widow woman or free gift

86. undertone­ an attitude that may lie under the ostensible tone of the piece.

87. understatement­is the opposite of hyperbole. It is a kind of irony that

deliberately represents something as being much less than it really is: I could probably manage to survive on a salary of two million dollars per year.

88. unity­ the sense that a text is, appropriately, about only one subject and

achieves one major purpose or effect.

89. unreliable narrator­ an untrustworthy or naïve commentator on events and

characters in a story.

90. vernacular­ the everyday speech of a particular country or region, often

involving nonstandard usage.

91. volta­ a turn in the piece, or a shift in tone/voice/narrative/topic that

indicates the author’s idea. Pyle discusses first the destruction of the machines,

and then shifts to the personal effects of the soldiers.

92. wit­ intellectually amusing language that surprises or delights.

93. zeugma­ a trope, one word (usually a noun or main verb) governs

two other words not related in meaning; I was running low on faith and

gasoline./You held your breath and the door for me.

Literary Terms / Rhetorical devices are courtesy of Mr. John Baker

The Catcher In The Rye Study Guide

Chapter 1 Vocabulary hemorrhage – uncontrolled bleeding grippe – flu­like disease ostracized – separated; excluded from society 1. Who is the narrator in this story, at what point in time is he telling the story, and where is he when he is telling the story? 2. What kind of tone is established in the first paragraph, and how is it done? 3. What is it that Holden does not like about the Pencey Prep advertisement and about the Headmaster, Thurmer? 4. In the second full paragraph on page 4, why is Holden hanging around the cannon, freezing? What does this say about his personality? 5. Find an example on page 4 of the narrator making a statement that is obviously false, which he expects the reader to believe. What do these repeated false statements tell you about Holden? S­1 Chapter 2

Vocabulary innumerable – unable to be counted qualm – worry, hesitation, uneasiness 1. Although Holden seems well­read, he continually leaves schools. Why? 2. Holden stops in to say good­bye to old Spencer; and as he sits there, he gets more and more upset. Why? 3. How does Holden’s reason for leaving Elkton Hills school further show that he is a sensitive person? Chapter 3 Vocabulary compulsory ­ mandatory chiffonier ­ dresser foils – swords for fencing falsetto – high pitched voice 1. How is it possible that despite Holden’s statement in the first line of chapter 3, “I’m the most terrific liar you ever saw in your life,” the reader believes nearly everything he says? 2. Holden’s understandings are false much of the time, but the basic ideas are correct. Find an example of this on page 16. 3. Why does Holden think that Mr. Ossenburger is a phony? 4. What kind of person is Ackley, and how does Holden feel about him? 5. Why does Ackley hate Stradlater? How does Holden feel about Stradlater?

Chapter 4 1. Do the characters Mr. Spencer, Ackley, and Stradlater strike you as believable people? Do Holden’s observations of them seem accurate or inaccurate? What method does Salinger use for Holden’s description of people? 2. Holden is sometimes accused of being too critical of people. Can you point to times when he is positive? 3. Find two examples of Caulfield repeating himself excessively. What might this repetition contribute to the book? Chapter 5 1. Find one example of a simile on page 35 and 37. 2. Despite his dislike for Ackley’s behavior, how does Holden demonstrate sympathy for him in this chapter? 3. We learn of Holden’s younger brother’s death almost as an aside. How do we know the death was difficult for him, although he now talks about it in a casual way? What is unusual about the way Allie’s death is first alluded to on page 38? 4. What indications are there that Holden might have idealized the memory of his dead brother? 5. What does the following quotation reveal about the two brothers?

I’ll tell you what kind of red hair he had. I started playing golf when I was only ten years old. I remember once, the summer I was around twelve, teeing off and all, and having a hunch that if I turned around all of a sudden, I’d see Allie. So I did, and sure enough, he was sitting on his bike outside the fence–there was this fence that went all around the course–and he was sitting there, about a hundred and fifty yards behind me, watching me tee off. That’s the kind of red hair he had. (Pg. 38) 6. In what way is Holden’s red cap a symbol of his alienation? Chapter 6 Vocabulary unscrupulous – without morals 1. What is ironic about the statement “I’m a pacifist, if you want to know the truth”? 2. Why is Holden so angry with Stradlater? Chapter 7 1. Why does Holden feel “rotten” and “lonesome” in this chapter? 2. At the end of this chapter, why is Caulfield on the verge of crying? Why does he decide to go home? Chapter 8 Vocabulary conscientious – paying careful attention to. 1. Why does Holden tell lies to Mrs. Morrow about her son? 2. Why does he give her a false name?

3. Explain the phrase, “Boy, was she lousy with rocks. (Pg. 55) Chapter 9 Vocabulary incognito – disguised 1. What is reemphasized about Holden’s personality on the first page of this chapter. 2. Explain the irony found on pages 61­62. 3. What question does Holden ask the cab driver? Why? 4. Holden admits to being confused about sex and cannot always keep to the rules he wishes to adopt. What does the code of conduct appear to be working toward? Chapter 10 Vocabulary putrid – rotten jitterbug – a dance style immaterial – not important 1. How does Holden feel about his sister Phoebe? 2. Why does Holden think the girls in the bar are “morons”? 3. What does the blonde’s language reveal, and how does she behave on the dance floor? Chapter 11 1. Holden can’t stand the thought of Jane being sexually involved with Stradlater because he sees her as pure and innocent. In what way is her innocence—her shy, naive manner of living—emphasized in this chapter?

2. What literary term describes Holden’s explanation of meeting Jane, the scene on her porch, and the movie incident? 3. Although Holden likes Ernie’s piano playing, what is it that Holden dislikes about Ernie? 4. Find a sentence on page 80 that is a good example of Holden’s general confusion about himself, other people, and life. Chapter 12 1. In addition to providing a comic interlude, what seems to be the point of the scene with the cab driver, Horwitz? 2. Caulfield believes that Ernie is a phony because he pretends to be humble when he bows, but is anything but humble. How has his performing hurt his talent, and what solution does Holden suggest for the problem? 3. Although Holden does not like Lillian Simmons and thinks she is another phony, why does he feel sorry for her? 4. What dryly humorous observation does Holden make about the naval officer? What literary term is used? Chapter 13 Vocabulary nonchalant – uncaring

suave – sophisticated 1. What literary term could be applied to the nearly two­page diatribe about gloves and galoshes that begins this chapter? The end of it contradicts which previous declaration Holden made? 2. Holden is confused and has many ambivalent feelings about sex, but in what respect is the point of view he operates from a moral and ethical one? 3. In regard to sex, Holden concludes that he feels sorry for girls. What observation does he make about this? 4. Why is Holden unwilling to have sex with the prostitute? 5. Since he can easily afford it, why does Holden object to paying the prostitute another $5.00? Chapter 14 1. In the confrontation with Maurice and Sunny, why do you suppose Holden still refuses to give up the extra money? 2. Does his fantasizing about a bullet wound seem out of character for Holden? Chapter 15 1. Point out the discrepancy between Holden’s comments about movies with Sunny and Sally.

2. What conclusion does Holden arrive at about suitcases, wealth, and relationships? Does his conclusion about Dick Slagle ceasing to be his roommate seem accurate? 3. Talking about Catholics, Holden says, “It’s just like those suitcases I was telling you about, in a way.” (Pg. 113) In what way are Catholics like suitcases? Chapter 16 1. Little children loom large in Holden’s life, especially in this chapter. Who is Little Shirley Bean? Why does the sight of the six­year­old boy with his parents raise Holden’s spirit? 2. Why might the song the boy is singing be significant? 3. Why, given his personality, might Holden be so upset with the idea of people going to the movies or the theater? 4. What is it about the museum of Natural History that Holden likes so much? Chapter 17 1. Who is Harris Macklin? 2. Holden’s anxieties start to build at the time he begins talking about school, which he says

he hates. What else does Holden claim to hate in this chapter? How is he expressing himself to Sally? 3. On page 131 Holden says: “I’m in lousy shape.” In doing so he finally admits that he is the one with the problem, not society. Why is Sally Hayes the wrong person to be telling this to? 4. At the end of this chapter, he says, “I swear to God I’m a madman.” Is he using this as an expression, or does he believe himself to be emotionally troubled? Chapter 18 Vocabulary enlightening – making clear 1. What new observation does Holden make about girls? 2. What bothers him about the movie he sees at Radio City? 3. What does Holden’s week­long involvement with Boy Scouts indicate? 4. Holden’s thought of suicide is now highly exaggerated. What is it? Chapter 19

Vocabulary aristocratic – noble, fancy psychoanalyze – to understand and treat the subconscious mind 1. Contrast Luce and Holden. 2. With all of the things he perceives as Luce’s faults, Holden still hates to see him go. Why? Chapter 20 Vocabulary halitosis – bad breath pneumonia – lung disease 1. On page 150 Holden is pretending again that he has been shot in the gut, and he says, “I was concealing the fact that I was a wounded sonuvabitch.” In what way is Holden really wounded? 2. Once again, the Jane Gallagher versus Sally Hayes scenario is set up. What does each girl seem to represent for Holden? 3. What figure of speech is used in the following quotation: “It’s not too bad when the sun’s out, but the sun only comes out when it feels like coming out”? Chapter 21 1. Why does Phoebe put the pillow over her head?

2. What does the fact that their family car has a radio in it indicate? Chapter 22 1. Is Holden’s reason for hating Pencey Prep a valid one? 2. Is his disillusionment with Mr. Spencer understandable? 3. It is clear why Holden gets depressed by his schoolmates and even Mr. Spencer, but why is he depressed by the graduate looking for his initials on the door, who, Holden admits, may be a good guy? 4. When Phoebe says, “You don’t like anything that’s happening,” she is suggesting that the fault may not be in the school but in Holden. To what extent is she correct? 5. Given the context that has been developing, state what is represented by Holden’s desire to catch kids so as to prevent them from falling off a cliff while playing in a field of rye. What could Holden mean by this odd reference? Chapter 23 1. On page 179 why does Holden break out crying?

Chapter 24 Vocabulary pedagogical – teaching manner provocative – stimulating harrowing – frightening 1. When we first meet Mr. Antolini, we expect him to be a mouthpiece for the author and to have some special insight into Holden and his problems because of the respect Holden has for his mind. In the following quote by Mr. Antolini, how much of it accurately describes Holden, and how much of it seems to be inaccurate? 2. A point that is much debated in this story is the significance of Mr. Antolini’s action as he sits on the floor. What point do you suppose is debated? 3. What is the significance of the final scene at Mr. Antolini’s? Chapter 25 1. What does Holden not understand about his nausea? 2. As Holden walks up Fifth Avenue, what “spooky” thing begins to happen to him? What does this signify? How does he try to prevent these feelings from turning into reality?

3. What does he envision as a solution to the problem he has with life and society? 4. The obscenities on the wall, first at the school and later in the tomb, signify what for Holden? 5. “All the kids kept trying to grab for the gold ring, and so was old Phoebe, and I was sort of afraid she’d fall off the goddam horse, but I didn’t say anything or do anything. The thing with kids is, if they want to grab for the gold ring, you have to let them do it, and not say anything. They fall off, they fall off, but it’s bad if you say anything to them.” Explain the meaning of the quotation above. 6. The critical point seems to come for Holden when Phoebe arrives with her suitcase. After they argue, she cries and ignores Holden; he then says he is not going to leave. At what later point do we see him go from depression to happiness? What brings it on, and how do you account for this change? 7. Find a sentence on page 212 that, for the first time, reveals a truth about Holden’s future. Chapter 26

1. This chapter is, in a manner of speaking, an epilogue. It brings us back to present time and resolves all the questions – or does it? Has Holden recovered from his nervous breakdown? When he starts his new school, will he do better? Has he learned anything? Do the last two lines have any significance?

Questions from John Baker