Othello

‘Life is a game that one plays according to the rules.’ J.D. Salinger’s 1952 novel, Catcher in the Rye and Fred Schepisi’s 1993 film Six degrees of Separation, explore the notion of human existence which reflect both composer’s social and cultural context of contemporary America. Ultimately, both texts share universal ideas of identity and the loss of innocence, rebellion and the superficiality of appearance versus reality. Through the analysis of the texts’ structure, content and language it reinforces its textual integrity. The transition from adolescence challenges one’s identity. This is evident in Salinger’s 17 year old character Holden Caulfield who is afraid of growing up. He is a critic of society’s hypocrisy, and openly states that he feels trapped on “the other side” of life. Holden’s cynical view highlights his loneliness and alienation. Even though in some sense he wants to connect with others, he is unable to successfully transition from adolescent to adulthood. As Holden travels through New York City in search of his identity, he encounters situations and people. The physical journey itself symbolises his search for individuality. When Holden meets the Catholic nuns, he ‘enjoyed talking to them a lot...I think, if I hadn’t been sort of afraid’. He then goes on to state ‘as a matter of fact, my father was a Catholic once’. Through this we are able to see his attempt at finding a connection with people. Similarly, the notion of identity and alienation is also evident in Shcepisi’s protagonist, Paul in Six degrees. The film, originally a play, revolves around Paul, a con artist who enters the lives of the upper class, inspiring them by the other possibilities in life, leaving them dumbfounded at their gullibility. Although both Holden and Paul struggle to find a place in society, Paul instead constructs his identity rather than searches for it. Without knowledge of Paul’s existence prior to his intrusion into the lives of the upper class, audiences make an assumption about him by concluding that he is simply an African-American man who just so happens to have the privileges of upper class life. Paul’s identity is expounded as he is a social outcast through race, a reflection of the context of the time. During the 1980s and 1990s, racial tensions plagued America. The US national urban league called then-President Ronald Regan morally unfair and economically unjust to African Americans. Paul’s character represents the socially outed, and through Trent Conway, someone he met on the street, he is able to enter this social class and find a place where he wishes to belong. Guare's innovative use of flashbacks and narration of other characters, Trent states, ‘Now go through the address book, I’ll tell you about family after family you’ll never not fit in again. We’ll even give you a new identity I’ll make you the most sought after young man on the east... I’ll introduce you to my friends and my parent’s friends under their noses and then they can’t judge me.” Through Trent’s monologue, audiences recognize that it is not only Paul who seeks an identity, but also Trent, who struggles to redefine an acceptable identity. No matter what era or time period one may grow up in, superficiality in society is inevitable, reflecting the idea of appearance versus reality. Through third person narrative, Salinger uses Holden to criticize the superficiality of the American society as he constantly refers to it as ‘phoneys’. Holden alludes to the values which have been compromised by pressures to conform. He rejects the very stereotype he is, an ex-student of an Ivy League school. Holden reinforces the shallowness of society as he talks about the Lunts, “They didn’t act like people and they didn’t act like actors...I mean they were good, but they we too good.” Published during post-war 1950s, it was a time of a new beginning and society rejected those like Holden. It was a truth which others wanted to forget. Superficiality as a form of criticism runs through both texts, where both composers has employed the use of a character that reflects negativity the context in the era the texts were produced. This is present in Holden Caulfield description of the world, where he critiques society to out on roles and not be like everyone else. As we learn, Caulfield’s outer appearance may seem to be the same to his environment but in actual fact his mind is not. He mocks everyone by calling them ‘phony, snobs, sonauvabitch’, yet this is a way in which Salinger expresses his message across about society. The two different worlds of adults and children in which Holden describes, where adults had their own world with their own rules and regulations symbolically reflected government versus authority, teenagers against adults, big against small. During the time of the 1940s, a year just after the WWII had ended, society maintains the conformist attitudes. Holden character displays a different personality, a different view in life and thus attacks society as this book provides inspiration to remove conformist attitudes. As this booked was finally published in the 1950s, just when the nation had recovered from the traumas of death and war, No one wanted to hear from Holden Caulfield’s as he was the recalling the past and rejected this book. Similarly, the notion of superficiality is conveyed through the perception and actions of the characters in Six Degrees. Ironically, Paul strives to emulate those of the superficial upper-class. The superficiality of the late 80s and early 90s is reinforced in the very beginning of the movie with Paul’s encounter with Geoffrey, the African-American billionaire. Louisa and Flan talk of nothing but money. ‘It’s an awful thing having a truly rich friend. Let’s face it the money does get in the way.’ Paul’s intrusion into the perfect lives opens up a whole new perspective to life. Louisa Kitteradge is inspired by Paul as she ultimately broadens her perspective on life beyond the superficial and ideal attainment of money and social connections. She is the only one who experiences a cathartic realization which attempts to convey Guare’s attack on society where the wealthy are oblivious to the real world. Louisa Kitteridge further reflects on the relationship of experience and anecdotes. Angrily and sadly she states ‘we turn him into an anecdote to dine out on like we’re doing right now, but it was an experience I will not turn him into an anecdote.’ Louisa’s attacking speech critiques social welfare as she questions those like her who continue to act the way they do, turning all experiences into merely a story, a form of entertainment. Although both texts are produced in different contexts the notions of identity, superficiality are all part of the human network and interactions and without this how can our society possibly function. It is through these universal themes, no matter which era you are present in we are able to connect and compare with where our minds and actions are nothing but the same yet we are only affected by our environments.