Cheatham, George, and Edwin Arnaudin. “Salinger’s Allusions to “My Foolish Heart” – The Salinger Movie.” ANQ 20.2 (2007): 39-43. Print.
“As Peter Beidler, among others, has noted, ‘Most of Holden Caulfield’s references to book and movies in The Catcher in the Rye turn out to be real, though perhaps obscure ones.’ (44). One such obscure but real reference-perhaps two, although the reference, or references, might be Salinger’s rather than Holden’s-is to My Foolish Heart, a 1949 feature film based on Salinger’s sotry ‘Uncle Wiggily in Connecticut’ (1948, reprinted in Nine Stories, 1953) and remembered now mostly for its title song, which became a pop standard, and for having ‘killed Salinger movies’ as John Truby phrases it. The creative team at Metro-Goldwyn-Mayer studios-which included Samuel Goldwyn and Casablanca screenwriters Julius and Philip Epstein-managed to turn Salinger’s brief but bitter indictment of upper-middle-class phoniness into what one reviewer called a ‘four-handkerchief tearjerker of repentance and redemption’ (qtd in Alexander 141). Salinger, reportedly both humiliated and appaled by what ‘Hollywood had done to ‘Uncle Wiggily,’ subsequently refused, notoriously, to sell the movie rights to Catcher in the Rye. ‘No, no, no,’ he insisted, ‘I had a bad experience in Hollywood once’ (Alexander 141-142).”
French, Warren G. “The Phony World and the Nice World.” Wisconsin Studies in Contemporary Literature 4.1 (1963): 21-30. Print.
“Just as one inspecting real estate must seek some central promontory from which to get the lay of the land, so the critic trying to get an author’s work into perspective seeks some central document that provides a focal point from which the others must be viewed. Since the work on any considerable writer is, furthermore, likely to embody a complexity of subtly insinuated themes rather than to reiterate a single, baldly stated idea, more than one of his works may serve as a center for organizing a study of his achievement. So far comprehensive evaluations of J.D. Salinger’s work have been built around two short stories; I propose to utilize a third.”
Goldstein, Bernice and Goldstein, Sanford. “Zen and Nine Stories.”. Renascence: Essays on Value in Literature: 22. (1970), pp. 171-82.
“Because Salinger has prefixed to Nine stories as a Zen koan, the Zen element in these stories ought to be investigated. The attempt to solve a koan (for example, the sound of one hand clapping) may lead, among several possibilities, to insanity or enlightenment. Thus one approach to Nine Stories is an examination of these two extremes of the koan experience. In such stories as “Uncle Wiggily in Connecticut,” “The Laughing Man,” and “A Perfect Day for Bananafish,” the destructive element is uppermost. In “For Esme – With Love and Squalor” and “De Daumier-Smith’s Blue Period,” the positive element of enlightenment. Since children come closest to the Zen experience (Teddy, for example), Salinger’s focus on children in these stories serves to sharpen differences between the enlightened and non-enlightened, the logical and illogical, the spontaneous and self-conscious. The rational adult world confronted by impossible choice (by koan) may react in a logically rational though destructive way, but the world of the child has perhaps not yet reached the stage where dichotomies prevent full immersion in each confronted moment.”
Greiner, Donald J. “Updike and Salinger: A Literary Incident.” Critique 47.2 (2006): 415-30.Literature Online. Web. 17 October 2009.
“In 2003, when John Updike published The Early Stories, 1953–1975, an 839-page collection honored with the 2004 PEN/Faulkner Award for Fiction, he included a foreword in which he recalled the development of the first two decades of his enduring and esteemed career. The germ of the career took its initial significant shape at Harvard, where Updike was an undergraduate from 1950 to 1954, and where, in 1953, he submitted to Albert Guerard’s creative writing class a story titled “Ace in the Hole.” On the advice of Professor Guerard, he sent the story to the New Yorker, which rejected it. As Updike explains in the foreword, “The next year, though, after ‘Friends from Philadelphia’ and some poems had been accepted by the magazine in my first post-collegiate summer, I resubmitted the story and it was accepted” (ix). Thus, although “Friends from Philadelphia” is Updike’s first professional story, as it was published in the NewYorker for 30 October 1954, “Ace in the Hole” was written earlier and is his initial important contact with the magazine that would feature his work for the next half century.” (115)
Greiner’s article analyzes the early effect that Salinger’s fiction had on John Updike. Updike sincerely seemed to admire Salinger’s earlier pieces, including, notably, “Just Before the War with the Eskimos.” Updike’s view on Salinger’s later fiction, was of course, much less positive. Greiner also suggests that since Hemingway and Faulkner’s careers were near close, the literary reputation of America was of concern to a Cold War Era literate populace. Greiner indicates that Salinger had the ubiquitous distinction of being the preeminent literary figure poised to fill the void left by these Modernist literary giants. Greiner suggests that 1948 was a banner year for Salinger, but that, by the 1960’s his decreased publications and his own devaluation of his early work (by not choosing these works to be collected) led Updike to take his place as the favored writer of The New Yorker.
In Time magazine’s 1961 article Sonny, An Introduction, John Skow gave the following account of J.D. Salinger’s meeting with Ernest Hemingway during the Second World War: “In France, Staff Sergeant Salinger had an audience with War Correspondent Ernest Hemingway, who read Salinger’s work and, possibly in appreciation of it (‘Jesus, he has a hell of a talent’), took out his Luger and shot the head off a chicken.”
In the years that followed, almost every Salinger critic has reported some version of this story. But as the half-century anniversary of the infamous chicken myth draws near, it is time, at last, to set the record straight.
Unfortunately, the myth has led scholars to ignore the fact that meeting Hemingway during the war is the most overlooked event in Salinger’s formation as a writer. Considering the meeting involves two of the most influential writers of the 20th century, the oversight is difficult to comprehend. Salinger died in January at age 91; Hemingway, who died in 1961, was born 111 years ago last week (July 21).
By all accounts, Salinger first met Hemingway at the Hotel Ritz after the liberation of Paris in 1944. In a letter dated a couple of weeks later, on Sept. 4, 1944, Salinger tells his editor, Whit Burnett of Story Magazine, that he met Hemingway and found him soft in comparison to the hard, tough demeanour of his prose. Salinger also says Hemingway was generous, friendly and unimpressed by his own reputation.
“There are a lot of things that most of us would rather not know about J. D. Salinger. What he eats or drinks. What he wears. What kind of father he is. Or any other of the various sordid details that have surfaced about his personal life in books by Ian Hamilton, Margaret Salinger and Joyce Maynard. Personally, my interest was never in J. D. Salinger the myth. It was always in J. D. Salinger the writer. ”
Coles, Editorial Board. J.D. Salinger Catcher in the Rye, Nine Stories. Toronto: Coles, 2000. Print.
Coles Notes are similar to Cliff’s Notes, in that they give a general synopsis of a work, a list of primary characters, and an abbreviated section on critical resource material.
This volume contains a short biographical and bibliographical essay on Salinger, some background on The Catcher in the Rye, a plot summary for The Catcher in the Rye, a list of characters in the novel, and a chapter-by chapter summary with commentary.
It also contains sections on plot, character, and meaning in The Catcher in the Rye, a few pages on the style of the novel, and then Miller and Heiserman’s article, “J.D. Salinger: Some Crazy Cliff.”
Next, there is an introduction to Nine Stories, and a synopsis of each of the stories, followed by a sample of critical articles, Stevensen’s article “J.D. Salinger: The Mirror of Crisis,” and then a list of suggested study topics and a short list of bibliographical resources.