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When you receive the information, if you think any of it is wrong or out of date, you can ask us to change or delete it for you. Cody Delistraty. He writes on literature, psychology and interesting humans. Brought to you by Curio , an Aeon partner. Edited by Marina Benjamin. It begins to rain, and Holden — having spent most of the book in some form of anxiety, disgust or depression — now nearly cries with joy.

It was just that she looked so damn nice, the way she kept going around and around, in her blue coat and all. Holden watches his sister reach out for a ring from her bobbing horse, and he has a profound revelation: life is about maintaining some form of optimism and innocence — of continuing to try, even in the midst of an impossible world. Holden has had an emotional experience and, as a result, has found himself. This, in turn, will allow him to enter society, which marks his growing up.

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According to Dilthey, self-integration implies social integration, thus the Bildungsroman is concerned predominately with leading the protagonist and the reader into his productive societal place. It is largely from this tradition that most contemporary coming-of-age culture, Salinger included, springs. Romantic stories climax with the ultimate, run-to-the-airport revelation.

The family-versus-work story has the protagonist making a final decision to be with his loved ones, but only after almost losing everything. Sometimes there are slight inversions, but the coming-of-age story remains essentially the same. His single moment of understanding comes in the back of the bus that whisks him away with Elaine who flees her own wedding to another man.

Modern psychology backs up such notions of a fluctuating, erratic self. For the past few decades, the study of personality came in two basic modes. One argued that personality is formed and fixed in early childhood. Most recently, research studies suggest a melding of these views. The past is nothing; the future is everything. This idea of inherent, Adam-and-Eve innocence, and the particularly American interest in it, is perhaps tantamount to a renunciation of history. Such denialism infuses both American stories and narratives of national identity, said Ihab Hassan, the late Arab-American literary theorist.