Franny and Zooey

The author writes: FRANNY came out in The New Yorker in 1955, and was swiftly followed, in 1957 by ZOOEY. Both stories are early, critical entries in a narrative series I'm doing about a family of settlers in twentieth-century New York, the Glasses. It is a long-term project, patently an ambiguous one, and there is a real-enough danger, I suppose that sooner or later I'll bog down, perhaps disappear entirely, in my own methods, locutions, and mannerisms. On the whole, though, I'm very hopeful. I love working on these Glass stories, I've been waiting for them most of my life, and I think I have fairly decent, monomaniacal plans to finish them with due care and all-available skill.

The author writes: FRANNY came out in The New Yorker in 1955, and was swiftly followed, in 1957 by ZOOEY. Both stories are early, critical entries in a narrative series I'm doing about a family of settlers in twentieth-century New York, the Glasses. It is a long-term project, patently an ambiguous one, and there is a real-enough danger, I suppose that sooner or later I'll bog down, perhaps disappear entirely, in my own methods, locutions, and mannerisms. On the whole, though, I'm very hopeful. I love working on these Glass stories, I've been waiting for them most of my life, and I think I have fairly decent, monomaniacal plans to finish them with due care and all-available skill.

New York Times

I am one of those...for whom Salinger's work dawned as something of a revelation. I expect that further revelations are to come. The Glass saga, as he has sketched it out, potentially contains great fiction...the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of as all.—Books of the Century, The New York Times review September, 1961

His cloistered lifestyle and limited output have not prevented readers and writers from lionizing J. D. Salinger. With one-of-a-kind stories and the classic novel The Catcher in the Rye, he captured, with wit and poignance, a growing malaise in post-war America.