Dana Andrews
From Wikipedia, the free encyclopedia
Birth name Carver Dana Andrews
Born January 1, 1909(1909-01-01)
Covington County, Mississippi
Died December 17, 1992 (aged 83)
Los Alamitos, California, USA
Spouse(s) Janet Murray (1932-1935)
Mary Todd (1939-1992)
Dana Andrews (January 1, 1909 - December 17, 1992) was an American film actor.
Early life
He was born Carver Dana Andrews on a farm just outside of Collins, Covington County, Mississippi, the third of nine children of the Rev. Charles Forrest Andrews, a Baptist minister and his wife Annis. The family subsequently moved to Huntsville, Texas, where his younger siblings (including actor Steve Forrest) were born.
Andrews attended college there and also studied business administration in Houston, working briefly as an accountant for Gulf & Western. In 1931, he travelled to Los Angeles, California seeking opportunities as a singer. He worked at various jobs to earn a living, including pumping gas at a filling station in Van Nuys. One of his employers believed in him and paid for his studies in opera and also at the Pasadena Playhouse, a prestigious theater and acting school.
Career
Andrews signed a contract with Samuel Goldwyn and nine years after arriving in Los Angeles was offered his first movie role in William Wyler's The Westerner (1940), starring Gary Cooper. In the 1943 movie adaptation of The Ox-Bow Incident with Henry Fonda, often cited as one of his better early films, he played a lynching victim. He gave finely calibrated performances in Where the Sidewalk Ends (1950) and in the film Laura (1944) both opposite Gene Tierney, and in the Oscar-winning 1946 film The Best Years of Our Lives.
By the 1950s, alcoholism had derailed Andrews' career, and on a couple of occasions nearly cost him his life on the highway. He was forced into supporting roles and character parts in B-movies, albeit good ones (he once said that he'd made more money in real estate than he'd ever made as an actor). In 1963, he was elected president of the Screen Actors Guild. Between 1969 and 1972, he appeared in a leading role as college president Tom Boswell on the NBC daytime soap opera, Bright Promise. In 1972, after four years of sobriety, he became one of the first celebrities to appear in a public service announcement for AA.
Personal life
Andrews married Janet Murray on New Year's Eve, 1932. She died in 1935, not long after the birth of their son, David (a musician and composer who died of a cerebral hemorrhage in 1964). On November 17, 1939, he married actress Mary Todd. They had three children, Katharine (born in 1942), Stephen (born in 1944), and Susan (born in 1948). For 20 years the family lived in Toluca Lake in the home now owned by Jonathan Winters. After his children were grown, Andrews lived out his later years with his wife Mary in the Studio City home bought from his friend, film director Jacques Tourneur (director of Canyon Passage and Curse of the Demon, in which Andrews appeared).
In the last years of his life Andrews suffered from Alzheimer's disease and in 1992 he died of congestive heart failure and pneumonia.
J. D. Salinger
From Wikipedia, the free encyclopedia
Born January 1, 1919 (1919-01-01) (age 89)
Manhattan, New York
Occupation Novelist and writer
Writing period 1940-1965
Debut works Debut short story: "The Young Folks" (1940)
Debut novel: The Catcher in the Rye (1951)
Influences Sherwood Anderson, Anton Chekhov, F. Scott Fitzgerald, Gustave Flaubert, Ernest Hemingway, Franz Kafka, Ring Lardner, Leo Tolstoy
Influenced Wes Anderson, Stephen Chbosky, Carl Hiaasen, Haruki Murakami, Tom Robbins, Philip Roth, Louis Sachar, John Updike, Richard Yates
Jerome David Salinger (born January 1, 1919) (pronounced /ˈsælɨndʒɚ/) is an American author, best known for his 1951 novel The Catcher in the Rye, as well as his reclusive nature. He has not published an original work since 1965 and has not been interviewed since 1980.
Raised in Manhattan, New York, Salinger began writing short stories while in secondary school, and published several stories in the early 1940s before serving in World War II. In 1948 he published the critically-acclaimed story "A Perfect Day for Bananafish" in The New Yorker magazine, which became home to much of his subsequent work. In 1951 Salinger released his first novel, The Catcher in the Rye, an immediate popular success. His depiction of adolescent alienation and loss of innocence in the protagonist Holden Caulfield was influential, especially among adolescent readers.[1] The novel remains widely read, selling about 250,000 copies a year.
The success of The Catcher in the Rye led to public attention and scrutiny; Salinger became reclusive, publishing new work less frequently. He followed Catcher with three collections of short stories: Nine Stories (1953), Franny and Zooey (1961), and Raise High the Roof Beam, Carpenters and Seymour: An Introduction (1963). His last published work, a novella entitled "Hapworth 16, 1924," appeared in The New Yorker in 1965.
Afterwards, Salinger struggled with unwanted attention, including a legal battle in the 1980s with biographer Ian Hamilton and the release in the late 1990s of memoirs written by two people close to him: Joyce Maynard, an ex-lover; and Margaret Salinger, his daughter. In 1997, a small publisher announced a deal with Salinger to publish "Hapworth 16, 1924" in book form, but amid the ensuing publicity, the release was indefinitely delayed.
Biography
Early life
Jerome David Salinger was born in Manhattan, New York, on New Year's Day, 1919. His mother, Marie Jillich, was half-Scottish and half-Irish.[1] His father, Sol Salinger, was a Jewish man of Polish origin who worked for a meat importer. When they married, Salinger's mother changed her name to Miriam and passed for Jewish. Salinger did not find out that his mother was not Jewish until just after his bar mitzvah.[2] He had only one sibling: his sister Doris, who was born in 1911.[3]
The young Salinger attended public schools on the West Side of Manhattan, then moved to the private McBurney School for ninth and tenth grades. He acted in several plays and "showed an innate talent for drama," though his father was opposed to the idea of J.D. becoming an actor.[4] He was happy to get away from his over-protective mother by entering the Valley Forge Military Academy in Wayne, Pennsylvania.[5] Though he had written for the school newspaper at McBurney, at Valley Forge Salinger began writing stories "under the covers [at night], with the aid of a flashlight."[6] He started his freshman year at New York University in 1936--purported to have considered studying special education-- but dropped out the following spring[7]. That fall, his father urged him to learn about the meat-importing business and he was sent to work at a company in Vienna, Austria.[8]
He left Austria only a month or so before the country fell to Hitler, on March 12, 1938. He attended Ursinus College in Collegeville, Pennsylvania, for only one semester. In 1939, Salinger attended a Columbia University evening writing class taught by Whit Burnett, longtime editor of Story magazine. According to Burnett, Salinger did not distinguish himself until a few weeks before the end of the second semester, at which point "he suddenly came to life" and completed three stories.[9] Burnett told Salinger that his stories were skillful and accomplished, and accepted "The Young Folks", a vignette about several aimless youths, for publication in Story.[9] Salinger's debut short story was published in the magazine's March-April 1940 issue. Burnett became Salinger's mentor, and they corresponded for several years.[10]
World War II
In 1941, Salinger started dating Oona O'Neill, daughter of the playwright Eugene O'Neill. Despite finding the debutante self-absorbed (he confided to a friend that "Little Oona's hopelessly in love with little Oona"), he called her often and wrote her long letters.[11] Their relationship ended when Oona began seeing Charlie Chaplin, whom she eventually married.[12] In late 1941, Salinger briefly worked on a Caribbean cruise ship, serving as an activity director and possibly as a performer.[13]
The same year, Salinger began submitting short stories to The New Yorker. A selective magazine, it rejected seven of Salinger's stories that year, including "Lunch for Three," "Monologue for a Watery Highball," and "I Went to School with Adolf Hitler." In December 1941, however, it accepted "Slight Rebellion off Madison," a Manhattan-set story about a disaffected teenager named Holden Caulfield with "pre-war jitters."[14] When Japan carried out the attack on Pearl Harbor that month, the story was rendered "unpublishable"; it did not appear in the magazine until 1946.[14] In the spring of 1942, several months after the United States entered World War II, Salinger was drafted into the Army, where he saw combat with the U.S. 12th Infantry Regiment in some of the fiercest fighting of the war.[13] He was active at Utah Beach on D-Day and in the Battle of the Bulge.[15]
Author Ernest Hemingway in 1939. During World War II, the two writers met and corresponded.During the campaign from Normandy into Germany, Salinger arranged to meet with Ernest Hemingway, a writer who had influenced him and was working as a war correspondent in Paris.[16] Salinger was impressed with Hemingway's friendliness and modesty, finding him more "soft" than his gruff public persona.[17] Hemingway was impressed by Salinger's writing, and remarked: "Jesus, he has a helluva talent."[1] The two writers began corresponding; Salinger wrote Hemingway in July 1946 that their talks were among his few positive memories of the war.[17] Salinger added that he was working on a play about Holden Caulfield, the protagonist of his story "Slight Rebellion off Madison," and hoped to play the part himself.[17]
Salinger was assigned to a counter-intelligence division, where he used his proficiency in French and German to interrogate prisoners of war.[18] He was also among the first soldiers to enter a liberated concentration camp.[18] Salinger's experiences in the war affected him emotionally. He was hospitalized for a few weeks for combat stress reaction after Germany was defeated,[19][20] and he later told his daughter: "You never really get the smell of burning flesh out of your nose entirely, no matter how long you live."[21] Both of his biographers speculate that Salinger drew upon his wartime experiences in several stories,[22] such as "For Esmé with Love and Squalor," which is narrated by a traumatized soldier. Salinger wrote while serving, and published several stories in slick magazines such as Collier's and the Saturday Evening Post. He continued to submit stories to The New Yorker, but with little success; it rejected all of his submissions from 1944 to 1946, and in 1945 rejected a group of 15 poems.[14]
Post-war years
After Germany's defeat, Salinger signed up for a six-month period of "de-Nazification" duty in Germany.[23] He met a woman named Sylvia, and they married in 1945.[24] He brought her to the United States, but the marriage fell apart after eight months and Sylvia returned to Germany.[24] In 1972, his daughter Margaret was with her father when he received a letter from Sylvia. He looked at the envelope, and without reading it, tore it apart. It was the first time he had heard from her since the breakup, but as Margaret put it, "when he was finished with a person, he was through with them."[25]
In 1946, Whit Burnett agreed to help Salinger publish a collection of his short stories through Story Press's Lippincott Imprint.[26] Titled The Young Folks, the collection was to consist of twenty stories ?- ten, like the title story and "Slight Rebellion off Madison," were already in print; ten were previously unpublished.[26] Though Burnett implied the book would be published and even negotiated Salinger a $1,000 advance on its sale, Lippincott overruled Burnett and rejected the book.[26] Salinger blamed Burnett for the book's failure to see print, and the two became estranged.[27]
By the late 1940s, Salinger had become an avid follower of Zen Buddhism, to the point that he "gave reading lists on the subject to his dates"[1] and arranged a meeting with Buddhist scholar D. T. Suzuki. In 1948, he submitted a short story titled "A Perfect Day for Bananafish" to The New Yorker. The magazine was so impressed with "the singular quality of the story" that its editors accepted it for publication immediately, and signed Salinger to a contract that allowed them right of first refusal on any future stories.[28] The critical acclaim accorded "Bananafish", coupled with problems Salinger had with stories being altered by the "slicks", led him to publish almost exclusively in The New Yorker.[29] "Bananafish" was also the first of Salinger's published stories to feature the Glasses, a fictional family consisting of two retired vaudeville performers and their seven precocious children: Seymour, Buddy, Boo Boo, Walt, Waker, Zooey, and Franny.[30] Salinger eventually published seven stories about the Glasses, developing a detailed family history and focusing particularly on Seymour, the troubled eldest child.[30]
In the early 1940s, Salinger had confided in a letter to Whit Burnett that he was eager to sell the film rights to some of his stories in order to achieve financial security.[31] According to Ian Hamilton, Salinger was disappointed when "rumblings from Hollywood" over his 1943 short story "The Varioni Brothers" came to nothing. Therefore he immediately agreed when, in mid-1948, independent film producer Samuel Goldwyn offered to buy the film rights to his short story "Uncle Wiggily in Connecticut."[31] Though Salinger sold his story with the hope ?- in the words of his agent Dorothy Olding ?- that it "would make a good movie,"[32] the film version of "Wiggly" was lambasted by critics upon its release in 1949.[33] Renamed My Foolish Heart and starring Dana Andrews and Susan Hayward, the melodramatic film departed to such an extent from Salinger's story that Goldwyn biographer A. Scott Berg referred to it as a "bastardization".[33] As a result of this experience, Salinger never again permitted film adaptations to be made from his work.[34]
The Catcher in the Rye
In the 1940s, Salinger confided to several people that he was working on a novel featuring Holden Caulfield, the teenage protagonist of his short story "Slight Rebellion off Madison,"[35] and The Catcher in the Rye was published on July 16, 1951. The novel's plot is simple,[36] detailing sixteen-year-old Holden's experiences in New York City following his expulsion from an elite prep school. The book is more notable for the iconic persona and testimonial voice of its first-person narrator, Holden.[37] He serves as an insightful but unreliable narrator who expounds on the importance of loyalty, the "phoniness" of adulthood, and his own duplicity.[37] In a 1953 interview with a high-school newspaper, Salinger admitted that the novel was "sort of" autobiographical, explaining that "My boyhood was very much the same as that of the boy in the book.
t was a great relief telling people about it."[38]
Initial reactions were mixed, ranging from The New York Times's hail of Catcher as "an unusually brilliant first novel"[39] to denigrations of the book's monotonous language and the "immorality and perversion" of Holden,[40] who uses religious slurs and casually discusses premarital sex and prostitution.[41] The novel was a popular success; within two months of its publication, The Catcher in the Rye had been reprinted eight times, and spent thirty weeks on the New York Times Bestseller list.[36]
The book's initial success was followed by a brief lull in popularity, but by the late 1950s, according to Ian Hamilton, it had "become the book all brooding adolescents had to buy, the indispensable manual from which cool styles of disaffectation could be borrowed."[42] Newspapers began publishing articles about the "Catcher Cult",[42] and the novel was banned in several countries - as well as some U.S. schools - because of its subject matter and what Catholic World reviewer Riley Hughes called an "excessive use of amateur swearing and coarse language".[43] One irate parent counted 237 appearances of the word "goddamn" in the novel, along with 58 "bastard"s, 31 "Chrissakes," and 6 "****"s.[43]
In the 1970s, several U.S. high school teachers who assigned the book were fired or forced to resign. In 1979 one book-length study of censorship noted that The Catcher in the Rye "had the dubious distinction of being at once the most frequently censored book across the nation and the second-most frequently taught novel in public high schools [after John Steinbeck's Of Mice and Men]."[44] The book remains widely read; as of 2004, the novel was selling about 250,000 copies per year, "with total worldwide sales over - probably way over - 10 million."[45]
In the wake of its 1950s success, Salinger received (and rejected) numerous offers to adapt The Catcher in the Rye for the screen, including one from Samuel Goldwyn.[33] Since its publication, there has been sustained interest in the novel among filmmakers, with Billy Wilder,[46] Harvey Weinstein, and Steven Spielberg[47] among those seeking to secure the rights. Salinger stated in the 1970s that "Jerry Lewis tried for years to get his hands on the part of Holden."[48] The author has repeatedly refused, though, and in 1999, Joyce Maynard definitively concluded: "The only person who might ever have played Holden Caulfield would have been J. D. Salinger."[48]
Writing in the 1950s and move to Cornish
In a July 1951 profile in Book of the Month Club News, Salinger's friend and New Yorker editor William Maxwell asked Salinger about his literary influences. Salinger responded: "A writer, when he's asked to discuss his craft, ought to get up and call out in a loud voice just the names of the writers he loves. I love Kafka, Flaubert, Tolstoy, Chekhov, Dostoevsky, Proust, O'Casey, Rilke, Lorca, Keats, Rimbaud, Burns, E. Brontë, Jane Austen, Henry James, Blake, Coleridge. I won't name any living writers. I don't think it's right."[49] In letters written in the 1940s, Salinger had expressed his admiration of three living, or recently-deceased, writers: Sherwood Anderson, Ring Lardner, and F. Scott Fitzgerald;[50] Ian Hamilton wrote that Salinger even saw himself for some time as "Fitzgerald's successor."[51]
After several years of practicing Zen Buddhism, in 1952, while reading the gospels of Hindu religious teacher Sri Ramakrishna, Salinger wrote friends of a momentous change in his life.[52] He became an adherent of Ramakrishna's Advaita Vedanta Hinduism, which advocated celibacy for those seeking enlightenment, and detachment from human responsibilities such as family.[53][54] Salinger also studied the writings of Ramakrishna's disciple Vivekananda; in the story "Hapworth 16, 1924", the character of Seymour Glass describes him as "one of the most exciting, original and best-equipped giants of this century."[53]
In 1953, Salinger published a collection of seven stories from The New Yorker ("Bananafish" among them), as well as two that the magazine had rejected. The collection was published as Nine Stories in the United States, and For Esmé with Love and Squalor in the UK, after one of Salinger's best-known stories.[55] The book received grudgingly positive reviews, and was a financial success - "remarkably so for a volume of short stories," according to Hamilton.[56] Nine Stories spent three months on the New York Times Bestseller list.[56] Already tightening his grip on publicity, though, Salinger refused to allow publishers of the collection to depict his characters in dust jacket illustrations, lest readers form preconceived notions of them.
As the notoriety of The Catcher in the Rye grew, Salinger gradually withdrew from public view. In 1953, he moved from New York to Cornish, New Hampshire. Early in his time at Cornish he was relatively sociable, particularly with students at Windsor High School. Salinger invited them to his house frequently to play records and talk about problems at school.[57] One such student, Shirley Blaney, persuaded Salinger to be interviewed for the high school page of The Daily Eagle, the city paper. However, after Blaney's interview appeared prominently in the newspaper's editorial section, Salinger cut off all contact with the high schoolers without explanation.[57] He was also seen less frequently around town, only seeing one close friend with any regularity, jurist Learned Hand.[58]
Marriage, family, and religious beliefs
In June 1955, at the age of 36, Salinger married Claire Douglas, a Radcliffe student. They had two children, Margaret (b. December 10, 1955) and Matt (b. February 13, 1960.) Margaret Salinger wrote in her memoir Dream Catcher that she believes her parents would not have married - nor would she have been born - had her father not read the teachings of a disciple of Paramahansa Yogananda, which brought the possibility of enlightenment to those following the path of the "householder" (a married person with children).[59] After their marriage, J.D. and Claire were initiated into the path of Kriya yoga in a small store-front Hindu temple in Washington, D.C., during the summer of 1955.[60] They received a mantra and breathing exercises to practice for ten minutes twice a day.[60]
Salinger also insisted that Claire drop out of school and live with him, only four months shy of graduation, which she did. Certain elements of the story "Franny", published in January, 1955, are based on his relationship with Claire, including the fact that Claire owned the book The Way of the Pilgrim.[61] Due to their isolated location and Salinger's proclivities, they hardly saw other people for long stretches of time. Claire was also frustrated by J.D.'s ever-changing religious beliefs. Though she committed herself to Kriya yoga, she remembered that Salinger would chronically leave Cornish to work on a story "for several weeks only to return with the piece he was supposed to be finishing all undone or destroyed and some new 'ism' we had to follow."[62] Claire believed "it was to cover the fact that Jerry had just destroyed or junked or couldn't face the quality of, or couldn't face publishing, what he had created."[62]
After abandoning Kriya yoga, Salinger tried Dianetics (the forerunner of Scientology), even meeting its founder L. Ron Hubbard, according to Claire.[62][63] This was followed by adherence to a number of spiritual, medical, and nutritional belief systems including Christian Science, homeopathy, acupuncture, macrobiotics, the teachings of Edgar Cayce, fasting, vomiting to remove impurities, megadoses of Vitamin C, urine therapy, "speaking in tongues" (or Charismatic glossolalia), and sitting in a Reichian "orgone box" to accumulate "orgone energy".[64][65][66][67]
Salinger's family life was further marked by discord after the first child was born; according to Margaret, Claire felt that her daughter had replaced her in Salinger's affections.[68] The infant Margaret was sick much of the time, but Salinger, having embraced the tenets of Christian Science, refused to take her to a doctor.[69] According to Margaret, her mother admitted to her years later that she went "over the edge" in the winter of 1957 and had made plans to murder her thirteen-month-old infant and then commit suicide. Claire had intended to do it during a trip to New York City with Salinger, but she instead acted on a sudden impulse to take Margaret from the hotel and run away. After a few months, Salinger persuaded her to return to Cornish.[69]
Last publications and Maynard relationship
Time magazine analyzed Salinger's "life of a recluse" in a 1961 cover story.Salinger published the collections Franny and Zooey in 1961, and Raise High the Roof Beam, Carpenters and Seymour: An Introduction in 1963. Each book contained two short stories or novellas, previously published in The New Yorker, about members of the Glass family. On the dust jacket of Franny and Zooey, Salinger wrote, in reference to his interest in privacy: "It is my rather subversive opinion that a writer's feelings of anonymity-obscurity are the second most valuable property on loan to him during his working years."[70]
On September 15, 1961, Time magazine devoted its cover to Salinger, in an article that profiled his "life of recluse"; Time reported that the Glass family series "is nowhere near completion
Salinger intends to write a Glass trilogy".[1] However, Salinger has only published one other story since. His last published work was "Hapworth 16, 1924," an epistolary novella in the form of a long letter from seven-year-old Seymour Glass from summer camp. It took up most of the June 19, 1965 issue of The New Yorker. Around this time, Salinger had isolated Claire from friends and relatives and made her - in the words of Margaret Salinger - "a virtual prisoner".[62] Claire separated from him in September 1966; their divorce was finalized on October 3, 1967.[71]
In 1972, at the age of 53, Salinger had a year-long relationship with 18-year-old Joyce Maynard, already an experienced writer for Seventeen magazine. The New York Times had asked Maynard to write an article for them which, when published as "An Eighteen Year Old Looks Back On Life" on April 23, 1972, made her a celebrity. Salinger wrote a letter to her warning about living with fame. After exchanging 25 letters, Maynard moved in with Salinger the summer after her freshman year at Yale University.[72] Maynard did not return to Yale that fall, and spent ten months as a guest in Salinger's Cornish home. The relationship ended, he told his daughter Margaret at a family outing, because Maynard wanted children, and he felt he was too old.[73]
Salinger continued to write in a disciplined fashion, a few hours every morning; according to Maynard, by 1972 he had completed two new novels.[74][75] In a rare 1974 interview with The New York Times, he explained: "There is a marvelous peace in not publishing.
I like to write. I love to write. But I write just for myself and my own pleasure."[76] According to Maynard, he saw publication as "a damned interruption".[77] In her memoir, Margaret Salinger describes the detailed filing system her father had for his unpublished manuscripts: "A red mark meant, if I die before I finish my work, publish this 'as is,' blue meant publish but edit first, and so on."[78]
Legal conflicts in 1980s and 1990s
Although Salinger tried to escape public exposure as much as possible, he continued to struggle with unwanted attention from both the media and the public.[79] Readers of his work and students from nearby Dartmouth College often came to Cornish in groups, hoping to catch a glimpse of him.[80] Upon learning in 1986 that the British writer Ian Hamilton intended to publish In Search of J.D. Salinger: A Writing Life (1935-65), a biography including letters Salinger had written to other authors and friends, Salinger sued to stop the book's publication. The book was finally published in 1988 with the letters' contents paraphrased. The court ruled that Hamilton's extensive use of the letters went beyond the limits of fair use, and that "the author of letters is entitled to a copyright in the letters, as with any other work of literary authorship."[81]
An unintended consequence of the lawsuit was that many details of Salinger's private life, including that he had spent the last twenty years writing, in his words, "Just a work of fiction.
That's all",[34] became public in the form of court transcripts. Excerpts from his letters were also widely disseminated, most notably a bitter remark written in response to Oona O'Neill's marriage to Charlie Chaplin:
I can see them at home evenings. Chaplin squatting grey and nude, atop his chiffonier, swinging his thyroid around his head by his bamboo cane, like a dead rat. Oona in an aquamarine gown, applauding madly from the bathroom.[81][12]
Salinger was romantically involved with television actress Elaine Joyce for several years in the 1980s.[72] The relationship ended when he met Colleen O'Neill (b. June 11, 1959), a nurse and quiltmaker, whom he married around 1988.[82] O'Neill, forty years his junior, once told Margaret Salinger that she and Salinger were trying to have a child.[83]
In 1995, Iranian director Dariush Mehrjui released the film Pari, an unauthorized and loose adaptation of Salinger's Franny and Zooey. Though the film could be distributed legally in Iran since the country has no official copyright relations with the United States,[84] Salinger had his lawyers block a planned screening of the film at the Lincoln Center in 1998.[85] Mehrjui called Salinger's action "bewildering", explaining that he saw his film as "a kind of cultural exchange".[85]
In 1997 Salinger gave a small publisher, Orchises Press, permission to publish "Hapworth 16, 1924," the previously uncollected novella. It was to be published that year, and listings for it appeared at Amazon.com and other book-sellers. After a flurry of articles and critical reviews of the story appeared in the press, the publication date was pushed back repeatedly, the last time to 2002. It was not published and no new date has been set.[86]
Recent privacy invasions
In 1999, twenty-five years after the end of their relationship, Joyce Maynard put up for auction a series of letters Salinger had written to her. Maynard's memoir of her life and her relationship with Salinger, At Home in the World: A Memoir, was published the same year. Among other indiscretions, the book described how Maynard's mother had consulted with her on how to appeal to the aging author, and described Maynard's relationship with him at length. In the ensuing controversy over both the memoir and the letters, Maynard claimed that she was forced to auction the letters for financial reasons; she would have preferred to donate them to Beinecke Library. Software developer Peter Norton bought the letters for $156,500 and announced his intention to return them to Salinger.[87]
Margaret Salinger's memoir Dream Catcher, its cover featuring a rare photograph of Salinger.A year later, Salinger's daughter Margaret, by his second wife Claire Douglas, published Dream Catcher: A Memoir. In her book, Ms. Salinger described the harrowing control Salinger had over her mother and dispelled many of the Salinger myths established by Ian Hamilton's book. One of Hamilton's arguments was that Salinger's experience with Post Traumatic Stress Disorder left him psychologically scarred, and that he was unable to deal with the traumatic nature of his war service. Though Ms. Salinger allowed that "the few men who lived through ['bloody Mortain,' a battle in which her father fought] were left with much to sicken them, body and soul,"[88] she also painted a picture of J.D. as a man immensely proud of his service record, maintaining his military haircut, service jacket, and moving about his compound (and town) in an old Jeep.
Both Margaret and Maynard characterized Salinger as a devoted film buff. According to Margaret, his favorite movies include Gigi, The Lady Vanishes, The 39 Steps (Phoebe's favorite movie in The Catcher in the Rye), and the comedies of W.C. Fields, Laurel and Hardy, and the Marx Brothers.[89] Predating VCRs, Salinger had an extensive collection of classic movies from the 1940s in 16 mm prints. Maynard wrote that "he loves movies, not films",[90] and his daughter argued that her father's "worldview is, essentially, a product of the movies of his day. To my father, all Spanish speakers are Puerto Rican washerwomen, or the toothless, grinning gypsy types in a Marx Brothers movie."[91]
Margaret also offered many insights into other Salinger myths, including her father's supposed long-time interest in macrobiotics and involvement with "alternative medicine" and Eastern philosophies. A few weeks after Dream Catcher was published, Margaret's brother Matt discredited the memoir in a letter to The New York Observer. He disparaged his sister's "gothic tales of our supposed childhood" and stated: "I can't say with any authority that she is consciously making anything up. I just know that I grew up in a very different house, with two very different parents from those my sister describes."[92]
Literary style and themes
In a contributor's note Salinger gave to Harper's Magazine in 1946, he wrote: "I almost always write about very young people", a statement which has been referred to as his credo.[93] Adolescents are featured or appear in all of Salinger's work, from his first published short story, "The Young Folks", to The Catcher in the Rye and his Glass family stories. In 1961, the critic Alfred Kazin explained that Salinger's choice of teenagers as a subject matter was one reason for his appeal to young readers, but another was "a consciousness [among youths] that he speaks for them and virtually to them, in a language that is peculiarly honest and their own, with a vision of things that capture their most secret judgments of the world."[94] Salinger's language, especially his energetic, realistically sparse dialogue, was revolutionary at the time his first stories were published, and was seen by several critics as "the most distinguishing thing" about his work.[95]
Salinger identified closely with his characters,[77] and used techniques such as interior monologue, letters, and extended telephone calls to display his gift for dialogue. Such style elements also "[gave] him the illusion of having, as it were, delivered his characters' destinies into their own keeping."[96] Recurring themes in Salinger's stories also connect to the ideas of innocence and adolescence, including the "corrupting influence of Hollywood and the world at large",[97] the disconnect between teenagers and "phony" adults,[97] and the perceptive, precocious intelligence of children.[22]
Contemporary critics discuss a clear progression over the course of Salinger's published work, as evidenced by the increasingly negative reviews received by each of his three post-Catcher story collections.[98][92] Ian Hamilton adheres to this view, arguing that while Salinger's early stories for the "slicks" boasted "tight, energetic" dialogue, they had also been formulaic and sentimental. It took the standards of The New Yorker editors, among them William Shawn, to refine his writing into the "spare, teasingly mysterious, withheld" qualities of "A Perfect Day for Bananafish", The Catcher in the Rye, and his stories of the early 1950s.[99] By the late 1950s, as Salinger became more reclusive and involved in religious study, Hamilton notes that his stories became longer, less plot-driven, and increasingly filled with digression and parenthetical remarks.[100] Louis Menand agrees, writing in The New Yorker that Salinger "stopped writing stories, in the conventional sense.
He seemed to lose interest in fiction as an art form?-perhaps he thought there was something manipulative or inauthentic about literary device and authorial control."[22] In recent years, Salinger's later work has been defended by some critics; in 2001, Janet Malcolm wrote in The New York Review of Books that "Zooey" "is arguably Salinger's masterpiece.
Rereading it and its companion piece "Franny" is no less rewarding than rereading The Great Gatsby."[92]
Influence
Salinger's writing has influenced several prominent writers, prompting Harold Brodkey (himself an O. Henry Award-winning author) to state in 1991: "His is the most influential body of work in English prose by anyone since Hemingway."[101] Of the writers in Salinger's generation, Pulitzer Prize-winning novelist John Updike attested that "the short stories of J. D. Salinger really opened my eyes as to how you can weave fiction out of a set of events that seem almost unconnected, or very lightly connected.
[Reading Salinger] stick[s] in my mind as really having moved me a step up, as it were, toward knowing how to handle my own material."[102] The critic Louis Menand has observed that the early stories of Pulitzer Prize-winner Philip Roth were affected by "Salinger's voice and comic timing."[22]
National Book Award finalist Richard Yates told The New York Times in 1977 that reading Salinger's stories for the first time was a landmark experience, and that "nothing quite like it has happened to me since."[103] Yates describes Salinger as "a man who used language as if it were pure energy beautifully controlled, and who knew exactly what he was doing in every silence as well as in every word." Gordon Lish's O. Henry Award-winning short story "For Jeromé?-With Love and Kisses" (1977, collected in What I Know So Far, 1984), is a parody of Salinger's "For Esmé?-with Love and Squalor."[104]
In 2001, Louis Menand wrote in The New Yorker that "Catcher in the Rye rewrites" among each new generation had become "a literary genre all its own."[22] He classed among them Sylvia Plath's The Bell Jar (1963), Hunter S. Thompson's Fear and Loathing in Las Vegas (1971), Jay McInerney's Bright Lights, Big City (1984), and Dave Eggers's A Heartbreaking Work of Staggering Genius (2000). The writer Aimee Bender was struggling with her first short stories when a friend gave her a copy of Nine Stories; inspired, she later described Salinger's effect on writers, explaining: "t feels like Salinger wrote The Catcher in the Rye in a day, and that incredible feeling of ease inspires writing. Inspires the pursuit of voice. Not his voice. My voice. Your voice."[105] Authors such as Stephen Chbosky,[106] Carl Hiaasen, Susan Minot,[107] Haruki Murakami, Gwendoline Riley,[108] Tom Robbins, Louis Sachar,[109] and Joel Stein,[110] along with Academy Award-nominated writer-director Wes Anderson, have cited Salinger as an influence.
Country Joe McDonald
From Wikipedia, the free encyclopedia
Born January 1, 1942
Washington, DC
Occupation musician, activist
Children Seven McDonald
Parents Florence McDonald
Joseph Allen McDonald (born January 1, 1942 in Washington, DC) was the leader and lead singer of the 1960s rock & roll group, Country Joe and the Fish.[1]
He started his career busking on Berkeley, California's famous Telegraph Avenue in the early 1960s.[1] His mother, Florence McDonald, served for many years on the Berkeley city council. As of 2007, Country Joe still lives in Berkeley.
Country Joe has recorded 33 albums and has written hundreds of songs over a career spanning 40 years. He and Barry Melton co-founded Country Joe and The Fish which became a pioneer psychedelic band with their eclectic performances at The Avalon Ballroom, the Fillmore, Monterey Pop Festival and Woodstock.
Their best-known song is his "The "Fish" Cheer / I-Feel-Like-I'm-Fixin'-To-Die Rag," a black comedy novelty song about the Vietnam War, whose familiar chorus ("One, two, three, what are we fighting for?") is well known to the Woodstock generation and Vietnam Vets of the 1960s and 1970s. He is also known for "The Fish Cheer" which was a cheerleader-style call-and-response with the audience where Joe spelled out "fish" ("Give me an F!").
The cheer was on the original recording of the I-Feel-Like-Like-I'm-Fixin'-To-Die, being played right before the song on the LP of the same name. The cheer became popular and the crowd would spell out F-I-S-H when the band performed live. During the summer of 1968 the band played on the Schaefer Beer Festival tour.[2] Gary "Chicken" Hirsh suggested before one of the shows to spell the word "****" instead of "fish." Although the crowd loved it, the management of the Schaefer Beer Festival did not and kicked the band off the tour for life. The Ed Sullivan show then canceled a previously scheduled appearance by Country Joe and the Fish and told the band to keep the money they had already been paid in exchange for never playing on the show.[2] The change of the cheer from "fish" to "****" would continue at most of the band's live shows throughout the years, including Woodstock and the Isle of Wight Festival.
Joe went on to have a long solo career with key albums including:
Thinking of Woody Guthrie (1969) - recorded in Nashville, which at the time was a very odd choice of location for a hippie songster to make an album of leftist anthems
War War War (1971) - a tribute to the World War I anti-war verse of British poet Robert W. Service set to music
Hold On It's Coming - songs about the West Coast hippie movement
Superstitious Blues - with Jerry Garcia playing guitar on some tracks
Paradise With an Ocean View (1977) - included the landmark environmental protest song "Save the Whales"
Paris Sessions - landmark feminism, with a female band, singing songs, written by Joe, including "Sexist Pig".
In 2003 McDonald was sued for copyright infringement over his signature song, specifically the "One, two, three, what are we fighting for?" chorus part, as derived from the 1926 early jazz classic "Muskrat Ramble", co-written by Kid Ory. The suit was brought by Ory's daughter Babette, who holds the copyright today. Since decades had already passed from the time McDonald composed his song in 1965, Ory based her suit against a new version of it recorded by McDonald in 1999. The court however upheld McDonald's laches defence, noting that Ory and her father were aware of the original version of "Fixin'", with the same section in question, for some three decades without bringing a suit until 2003, and dismissed the suit.
In 2004, Country Joe re-formed some original members of Country Joe and The Fish as the Country Joe Band - Bruce Barthol, David Bennett Cohen, and Gary "Chicken" Hirsh. The band toured Los Angeles, Berkeley, Bolinas, Sebastopol, Grants Pass, Eugene, Portland and Seattle. They then made a 10-stop tour of the United Kingdom and played at the Isle of Wight and London. Following that came the New York tour which included a Woodstock reunion performance followed by an appearance at the New York State Museum in Albany. Returning to the West Coast the band played in Marin and Mendocino Counties, the World Peace Music Awards in San Francisco and at the Oakland Museum as part of an exhibit on the Vietnam War.
In the spring of 2005, McDonald joined a larger protest against California Governor Arnold Schwarzenegger's proposed budget cuts at the California state capital.
Trivia
In the fall of 2005, political commentator Bill O'Reilly compared McDonald, a Navy veteran,[3] to Cuban president Fidel Castro, remarking on McDonald's involvement in Cindy Sheehan's protests against the Iraq War.[4]
McDonald's daughter Seven is a columnist for the LA Weekly.
He performed at the Isle of Wight Festival in the summer of 2007
Here's to the folks out there in radio land who had some bubbly lately
Note LW is Lawrence Welk, -L is a Lemmon sister,
LS is the Lemmon Sisters, LL is Larry Looper,
SS is Stoney Stonedwell, AL is Alice Lean,
SM is sailor matey, SC is sailor captain
LW Thank you, thank you and good evening friends.
We're coming to you once again from the beautiful
Aragon Ballroom on Lick Pier at beautiful Santa
Monica Beach, California. We've been getting lots
of cards and letters from you folks out there in
television lant and we surely do thank you for...ah...
for...ah...for all the cards and letters from you
folks out there in television lant. Starting us off
tonight is our trio the Lemmon Sisters and
girls what are you going to sing?
-L We're going to sing Thank You For All Those Cards
and Letters You Folks Out There in Television Land.
LW Lant!
-L Lant
LW And now an appropriate number. A-wun and a-too and a-
LS Thank you for all those cards and letters
You folks in television lant
We wonder where this television lant is
Could it be a couple of miles from where Dinney Lant is
Oh, well never the less you guys and gals in
LW What is that noise there?
LS - bunch of palsy-walsies -
LW Oh, its the bubble machine. Turn off...just a moment...
I...hold it just a moment please...turn off the bubble
machine...please turn off the bubble. Thank you, Lemmon Sisters for that lovely number. Wunerful, wunerful. And now on with the show. Here's that man with the deep, deep voice,
Larry Looper. Larry, What are you going to sing for us, Larry?
LL I'm going to sing Thank You For All Those Cards and Letters.
LW I'm sorry, that number has been taken.
LL Well. Ill sing The Funny Old Hills then.
LW Good. A-wun and a-too and a-
LL I-
LW Hold it just a moment. The bubbles don't come till the end
of the program. Turn off the bubbles. Thank you Lar- thank you
Larry Looper, for that wunerful number. Now I would like to
play a short instrumental medley based on the names of girls.
A-wun and a-too...no...no, thats not it...thank you so very much. And now, here's that young man about town from the brass section, Stoney Stonedwell, to sing Please.
SS Please. Lend your little ears to my plea -
LW What is the matter with that machine. Here, hit it with your
horn...hit it...here...stick your mouthpiece in it there.
Wunerful, wunerful. And now on with the show. Here's our
champagne lady Alice Lean. Alice is going to sing
Moonlight and Shadows. A-wun and a-too and a-
Ladies and gentlemen, for the first time in twenty-five years
my popping finger is caught in my cheek. Will you give me a hand there, Alice...here, pull my arm...no, the other arm...just pull it...
pull it...thats it.
AL Moonlight and shadows and you in my arms
And the melody in the bamboo tree, my sweet
Even in shadows
LW Hold it, somebody stop the bubble machine. The whole ballroom is lathering up with bubbles. And now I can't see the cameras. Here, let me set that accordion down on the stage and I'll try to fix that. Bear with us, folks just a moment please. Gee, the time is running out and we haven't even played the polka. Wait a minute, boys, I didn't mean...hold it, Alice, don't polka on my accordion.
Gee, Dad, it was a Wurlitzer. Hit the theme, boys. And so its
goodnight from all the champagne... wheres the cameras...theres so many bubbles I can't...and so, friends, we...help, the whole ballroom is shoving off to sea...
SM Sure is a clear night, ain't it, Captain?
SC Yup, matey, these are the kind of nights when the sea plays
tricks on ye.
SM Yeah, I recollect one night off Singapore...
SC Tricks, I say, like that mirage off the port bow, now.
SM What?
SC See it there, kinda bubbly looking in the moonlight?
SM Oh, yeah. Gee, if I didn't know better, I'd say it looks
like the Aragon Ballroom.
SC Yeah...dee-deedee dee-dee dee dee dee-dee
SM Hey, thats a catchy chantey you're humming there, Captain. What is it?
SC Oh, I don't know. Just keeps running through my head.
SM Let's go below and catch a little shut-eye.
LW Help! Help! Wunerful, wunerful. Turn off the bubble machine.
Help...help...
!
