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Where Salinger grew up, 1133 Park Avenue in Manhattan. Jerome David Salinger was born in Manhattan, New York, on January 1, 1919. [5] His father, Sol Salinger, traded in Kosher cheese, and was from a family of Lithuanian-Jewish descent from Russian Empire. [6]
Franny and Zooey is a book by American author J. D. Salinger which comprises his short story "Franny" and novella Zooey / ˈ z oʊ. iː /. [1] The two works were published together as a book in 1961, having originally appeared in The New Yorker in 1955 and 1957 respectively.
First published in 1940, "Go See Eddie" is one of J. D. Salinger's first short stories. [18] Initially submitted to Story magazine and then to Esquire before being accepted by The University of Kansas City Review, now known as New Letters, this short story was forgotten for decades, before being uncovered in 1963 by Salinger's biographer Warren French.
"The Young Folks" is a work of short fiction by J. D. Salinger published in the March–April 1940 issue of Story magazine. The story is included in the 2014 Salinger collection Three Early Stories. [1] [2] "The Young Folks" is Salinger's first published story. [3] [4]
“Unlike many soldiers who had been impatient for the D-Day invasion, Salinger was far from naive (with dots) about war.In stories like ‘Soft-boiled Sergeant” and ‘Last Day of the Last Furlough” he had already expressed disgust with the false idealism applied to combat and attempted to explain that war was a bloody, inglorious affair…” —Biographer Kenneth Slawenski in J. D ...
"This Sandwich Has No Mayonnaise" is an uncollected work of short fiction by J. D. Salinger which appeared in the October 1945 issue of Esquire. [ 1 ] [ 2 ] The story was published in the 1958 anthology The Armchair Esquire , edited by Arnold Gingrich and L. Rust Hills.
“Go See Eddie” is one of a number of Salinger’s uncollected stories that deals with “characters who become involved in degrading, often phony social contexts.” [8] An examination of “social manners [and] the corruption of innocence” [9] [10] the story, “though slight in range, foreshadows Salinger’s more searching explorations of innocence either threatened or lost ...
In “Heart of a Broken Story” Salinger takes the measure of wishful fantasy as the basis for popular entertainment and —at a remarkably early point in his career —registers his uneasiness with formula fiction. This story constitutes his earliest attack on phony art.” —John Wenke in J. D. Salinger: A Study of the Short Fiction (1991) [9]