Zitate von Jerome David Salinger

zitiert als Äußerung Wilhelm Stekels in J.D.Salingers Roman "Der Fänger im Roggen". Deutsch von Heinrich Böll. Kiepenheuer und Witsch Köln 1962. Kapitel 24
Original englisch: "The mark of the immature man is that he wants to die nobly for a cause, while the mark of the mature man is that he wants to live humbly for one" - The Catcher in the Rye. © 1951. Penguin Books Harmondsworth 1971. Seite 195
In Stekels Werk findet sich allerdings nur das folgende sinngemäße Zitat von Otto Ludwig:
"Das Höchste, wozu er sich erheben konnte, war, für etwas rühmlich zu sterben; jetzt erhebt er sich zu dem Größern, für etwas ruhmlos zu leben." - Gedanken Otto Ludwigs. Aus seinem Nachlaß ausgewählt und herausgegeben von Cordelia Ludwig. Eugen Diederichs Leipzig 1903. Seite 10 archive.org http://archive.org/stream/gedankenottolud00ludwgoog#page/n39/mode/2up.

"Der Fänger im Roggen". Deutsch von Heinrich Böll. Kiepenheuer und Witsch Köln 1962, Seite 219
Original engl.: "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 do not 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." - The Catcher in the Rye. Chapter 22

"Der Fänger im Roggen". Deutsch von Heinrich Böll. Kiepenheuer und Witsch Köln 1962. Die letzten Sätze des Romans.
Original engl.: "Don't ever tell anybody anything. If you do, you start missing everybody."

"Der Fänger im Roggen". Deutsch von Heinrich Böll. Kiepenheuer und Witsch Köln 1962, Kapitel 18 (letzte Sätze).
Original engl.: "Anyway, I'm sort of glad they've got the atomic bomb invented. If there's ever 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."

"Der Fänger im Roggen". Deutsch von Heinrich Böll. Kiepenheuer und Witsch Köln 1962, Kapitel 2.
Original engl.: "You can't stop a teacher when they want to do something. They just do it."

Statements to New York Times reporter Lacey Fosburgh, as quoted in Salinger : A Biography (2000) by Paul Alexander; also in If You Really Want to Hear About It : Writers on J.D. Salinger and His Work (2006) by Catherine Crawford.
Kontext: There is a marvelous peace in not publishing. … It's peaceful. Still. Publishing is a terrible invasion of my privacy. I like to write. I live to write. But I write just for myself and my own pleasure. … I don't necessarily intend to publish posthumously, but I do like to write for myself. … I pay for this kind of attitude. I'm known as a strange, aloof kind of man. But all I'm doing is trying to protect myself and my work.

Quelle: Franny and Zooey

Franny and Zooey (1961), Zooey (1957)
Kontext: I don't care where an actor acts. It can be in summer stock, it can be over a radio, it can be over television, it can be in a goddam Broadway theatre, complete with the most fashionable, most well-fed, most sunburned-looking audience you can imagine. But I'll tell you a terrible secret — Are you listening to me? There isn't anyone out there who isn't Seymour's Fat Lady. That includes your Professor Tupper, buddy. And all his goddam cousins by the dozens. There isn't anyone anywhere that isn't Seymour's Fat Lady. Don't you know that? Don't you know that goddam secret yet? And don't you know — listen to me, now — don't you know who that Fat Lady really is?... Ah, buddy. Ah, buddy. It's Christ Himself. Christ Himself, buddy.

Franny and Zooey (1961), Zooey (1957)
Kontext: Seymour'd told me to shine my shoes just as I was going out the door with Waker. I was furious. The studio audience were all morons, the announcer was a moron, the sponsors were morons, and I just damn well wasn't going to shine my shoes for them, I told Seymour. I said they couldn't see them anyway, where we sat. He said to shine them anyway. He said to shine them for the Fat Lady. I didn't know what the hell he was talking about, but he had a very Seymour look on his face, and so I did it. He never did tell me who the Fat Lady was, but I shined my shoes for the Fat Lady every time I ever went on the air again — all the years you and I were on the program together, if you remember. I don't think I missed more than just a couple of times. This terribly clear, clear picture of the Fat Lady formed in my mind. I had her sitting on this porch all day, swatting flies, with her radio going full-blast from morning till night. I figured the heat was terrible, and she probably had cancer, and — I don't know. Anyway, it seemed goddam clear why Seymour wanted me to shine my shoes when I went on the air. It made sense.

Nine Stories (1953), Teddy (1953)

Franny and Zooey (1961), Zooey (1957)
Kontext: I can't see why anybody — unless he was a child, or an angel, or a lucky simpleton like the pilgrim — would even want to say a prayer to a Jesus who was the least bit different from the way he looks and sounds in the New Testament. My God! He's only the most intelligent man in the Bible, that's all! Who isn't he head and shoulders over? Who? Both Testaments are full of pundits, prophets, disciples, favorite sons, Solomons, Isaiahs, Davids, Pauls — but, my God, who besides Jesus really knew which end was up? Nobody. Not Moses. Don't tell me Moses. He was a nice man, and he kept in beautiful touch with his God, and all that — but that's exactly the point. He had to keep in touch. Jesus realized there is no separation from God.

Statements to New York Times reporter Lacey Fosburgh, as quoted in Salinger : A Biography (2000) by Paul Alexander; also in If You Really Want to Hear About It : Writers on J.D. Salinger and His Work (2006) by Catherine Crawford.
Kontext: There is a marvelous peace in not publishing. … It's peaceful. Still. Publishing is a terrible invasion of my privacy. I like to write. I live to write. But I write just for myself and my own pleasure. … I don't necessarily intend to publish posthumously, but I do like to write for myself. … I pay for this kind of attitude. I'm known as a strange, aloof kind of man. But all I'm doing is trying to protect myself and my work.

The Catcher in the Rye (1951)
Kontext: 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.

Franny and Zooey (1961), Zooey (1957)
Kontext: I can't see why anybody — unless he was a child, or an angel, or a lucky simpleton like the pilgrim — would even want to say a prayer to a Jesus who was the least bit different from the way he looks and sounds in the New Testament. My God! He's only the most intelligent man in the Bible, that's all! Who isn't he head and shoulders over? Who? Both Testaments are full of pundits, prophets, disciples, favorite sons, Solomons, Isaiahs, Davids, Pauls — but, my God, who besides Jesus really knew which end was up? Nobody. Not Moses. Don't tell me Moses. He was a nice man, and he kept in beautiful touch with his God, and all that — but that's exactly the point. He had to keep in touch. Jesus realized there is no separation from God.

Franny and Zooey (1961), Zooey (1957)
Kontext: I swear to you, you're missing the whole point of the Jesus Prayer. The Jesus Prayer has one aim, and one aim only. To endow the person who says it with Christ-Consciousness. Not to set up some little cozy, holier-than-thou trysting place with some sticky, adorable divine personage who'll take you in his arms and relieve you of all your duties and make all your nasty Weltschmerzen and Professor Tuppers go away and never come back. And by God, if you have intelligence enough to see that — and you do — and yet you refuse to see it, then you're misusing the prayer, you're using it to ask for a world full of dolls and saints and no Professor Tuppers.

Franny and Zooey (1961), Zooey (1957)
Kontext: Even if you went out and searched the whole world for a master — some guru, some holy man — to tell you how to say your Jesus Prayer properly, what good would it do you? How in hell are you going to recognize a legitimate holy man when you see one if you don't even know a cup of consecrated chicken soup when it's right in front of your nose? Can you tell me that?

Franny and Zooey (1961), Zooey (1957)
Kontext: I don't care where an actor acts. It can be in summer stock, it can be over a radio, it can be over television, it can be in a goddam Broadway theatre, complete with the most fashionable, most well-fed, most sunburned-looking audience you can imagine. But I'll tell you a terrible secret — Are you listening to me? There isn't anyone out there who isn't Seymour's Fat Lady. That includes your Professor Tupper, buddy. And all his goddam cousins by the dozens. There isn't anyone anywhere that isn't Seymour's Fat Lady. Don't you know that? Don't you know that goddam secret yet? And don't you know — listen to me, now — don't you know who that Fat Lady really is?... Ah, buddy. Ah, buddy. It's Christ Himself. Christ Himself, buddy.

On the main character in his novel The Catcher in the Rye, as quoted in Asks Appeals Court to Uphold Ban on ‘Catcher’ Sequel" in The New York Times (14 August 2009) http://artsbeat.blogs.nytimes.com/2009/08/14/salinger-asks-appeals-court-to-uphold-ban-on-catcher-sequel/"Salinger

Raise High the Roof Beam, Carpenters and Seymour: An Introduction (1963), Raise High the Roof Beam, Carpenters (1955), p. 76