Is this the case for Holden? That’s a difficult point to answer. There are times where the ‘implied author’ does seem to silently ridicule him. When he has to order a Coke in the Edmont Hotel nightclub, for example – a mocking that is echoed in Holden’s inability to understand why the trio of girls crack wise about his apparent age. But I’d venture that the ‘second narrative’ at work here is more sympathetic than the term ‘dramatic irony’ might normally suggest. While the implied author and postulated reader are in a sort of collusion, an agreement to see Holden as unreliable, I believe we’re invited to see him as a tragic character, troubled and confused, rather than a figure of fun.
Genette is largely responsible for the reintroduction of a rhetorical vocabulary into literary criticism, for example such terms as trope and metonymy . Additionally his work on narrative, best known in English through the selection Narrative Discourse: An Essay in Method , has been of importance.  His major work is the multi-part Figures series, of which Narrative Discourse is a section. His trilogy on textual transcendence , which has also been quite influential, is composed of Introduction à l'architexte (1979), Palimpsests: Literature in the Second Degree (1982), and Paratexts. Thresholds of Interpretation (1997).