“So they stood upon the shores of Faith and felt the old dogmas and certainties ebbing away rapidly under their feet and between their toes, sapping the foundations upon which they stood, a sensation both agreeably stilmulating and sightly unnerving”

“wandering between two worlds, one lost, the other powerless to be born.”

“It was the excitement, the richness of the whole experience, the mixture of pleasure and danger and freedom and the sun. You know, when we came back here, for a long while I still went on living in Euphoria inside my head. Outwardly I returned to my old routine. I got up in the morning, put on a tweed suit, read the Guardian over breakfast, walked into the University, gave the same old tutorials on the same old texts... and all the while I was leading a completely different life inside my head. Inside my head, I had decided not to come back to England, so I was waking up in Plotinus, sitting in the sun in my happi-coat, looking out over the Bay, putting on Levis and a sports shirt, reading the Euphoric Times over breakfast, and wondering what would happen today, would there be a protest, a demonstration, would my class have to fight their way through teargas and picket lines or should we meet off-campus in somebody's apartment, sitting on the floor surrounded by posters and leaflets and paperbacks about encounter groups and avant garde theatre and Viet Nam.”

“What was left was sex in the head, as D.H.Lawrence called it. ... Where else would the human subject have sex but in the head? Sexual desire was a play of signifiers, an infinite determent and displacement of anticipated pleasure which the brute coupling of the signifieds temporarily interrupted.”

“We’re a bundle of incompatible parts, and we make up stories about ourselves to disguise the fact. The mental unity of the individual is a fiction. There is simply, in the human machine, a multitude of loosely linked behaviour systems which take control of the body and participate in a common delusion of being one single self”

“It is, as I say, easy enough to describe Holden's style of narration; but more difficult to explain how it holds our attention and gives us pleasure for the length of a whole novel. For, make no mistake, it's the style that makes the book interesting. The story it tells is episodic, inconclusive and largely made up of trivial events. Yet the language is, by normal literary criteria, very impoverished. Salinger, the invisible ventriloquist who speaks to us through Holden, must say everything he has to say about life and death and ultimate values within the limitations of a seventeen-year-old New Yorker's argot, eschewing poetic metaphors, periodic cadences, fine writing of any kind.”

“As is perhaps obvious, Morris Zapp had no great esteem for his fellow-labourers in the vineyards of literature. They seemed to him vague, fickle, irresponsible creatures, who wallowed in relativism like hippopotami in mud, with their nostrils barely protruding into the air of common-sense. They happily tolerated the existence of opinions contrary to their own — they even, for God’s sake, sometimes changed their minds. Their pathetic attempts at profundity were qualified out of existence and largely interrogative in mode. They liked to begin a paper with some formula like, ‘I want to raise some questions about so-and-so’, and seemed to think they had done their intellectual duty by merely raising them. This manoeuvre drove Morris Zapp insane. Any damn fool, he maintained, could think of questions; it was answers that separated the men from the boys.”