J.D. Salinger, E-Book Holdout, Joins the Digital Revolution

In the 5 a long time since J. D. Salinger printed his remaining quick story, “Hapworth 16, 1924,” his small, revered physique of labor has stayed static, virtually suspended in amber.

Even as publishers and shoppers adopted e-books and digital audio, Salinger’s books remained defiantly offline, a consequence of the author’s distaste for computer systems and know-how. And whereas Salinger stored writing till his demise almost 10 years in the past, not a phrase has been printed since 1965.

That is partly due to his son, Matt Salinger, who helps run the J. D. Salinger Literary Trust and is a vigilant guardian of his father’s legacy and privateness.

But now, in an effort to maintain his father’s books in entrance of a brand new technology of readers, the youthful Mr. Salinger is starting to ease up, steadily lifting a cloud of secrecy that has obscured the life and work of one among America’s most influential and enigmatic writers.

This week, in the first step of a broader revival that might reshape the world’s understanding of Salinger and his writing, Little, Brown is publishing digital editions of his 4 books, making him maybe the final 20th-century literary icon to give up to the digital revolution.

Then this fall, with Mr. Salinger’s assist, the New York Public Library will host the first public exhibition from Salinger’s private archives, which can characteristic letters, household images and the typescript for “The Catcher in the Rye” with the creator’s handwritten edits, together with about 160 different gadgets.

And earlier than lengthy, a long time value of Salinger’s unpublished writing will likely be launched, a mission Mr. Salinger estimated will take one other 5 to seven years to finish.

Combing by his father’s manuscripts and letters has been each enlightening and emotionally taxing, Mr. Salinger mentioned in an interview to advertise the new digital editions.

“It’s kept him very much alive for me,” he mentioned throughout an interview at the New York Public Library. “It’s been fascinating and joyful and moving and sad.”

It’s additionally put him in the awkward place of changing into a de facto public face for an creator who detested publicity and as soon as informed an interviewer that “publishing is a terrible invasion of my privacy.”

“It’s weird, because I’ve spent my whole life protecting him and not talking about him,” Mr. Salinger mentioned.

The query of what Salinger left behind when he died in 2010 at the age of 91 remains one of the most tantalizing mysteries in American literature. His son has the answers but is not revealing much for now, apart from the fact that there is more writing — a lot of it — and that he is preparing to release it. He doesn’t want to inflate expectations for Salinger fans by describing the contents, beyond confirming that his father did continue to write about the Glass family, among other subjects.

He has agonized over some of these new initiatives, torn between wanting to honor his father’s desire for privacy and control, and wanting the books to reach a wider audience.

There are signs that Salinger’s profound influence on generations of American writers and readers may be waning. In an essay published in The Guardian earlier this month, the novelist Dana Czapnik wrote of students and teachers who aren’t as enamored of Holden Caulfield, the phony-hating protagonist of “The Catcher in the Rye,” as previous generations, and an Electric Literature article published last year suggested “alternatives and supplements” to the book by female and nonwhite authors.

While he rarely gives interviews, Mr. Salinger has opened up more about his father recently. He felt compelled, he said, to counter the claims in a 2013 documentary and a tie-in book by David Shields and Shane Salerno, which caused a stir with the revelation that Salinger had left behind five unpublished works, along with instructions to publish them between 2015 and 2020. “So much in that book and that movie were utter fiction, and bad fiction,” said Mr. Salinger, who noted that his father “encouraged us to take our time” and didn’t give a timeline for publication.

Mr. Salerno said that the book and film were based on nearly a decade of research, and were legally vetted. He added that he felt vindicated by Mr. Salinger’s recent statements that the writer’s unpublished works will be released in coming years. “Matt Salinger finally confirmed to the world that what I wrote back in 2013 was true, and that more than 40 years of his father’s writing would be published,” Mr. Salerno said in a statement to The New York Times.

For now, the contents of J. D. Salinger’s archives remain a closely held secret. His unpublished work sits in a secure storage facility between his son’s home in Connecticut and the New Hampshire home of the Salinger Trust’s other trustee, Salinger’s widow, Colleen Salinger. (She declined to comment for this article.)

Matt Salinger has been preparing the unreleased work for publication since 2012. He sometimes found himself getting lost in the files, entranced by his father’s voice. “Everything’s a rabbit hole,” he said. Creating digital files has been daunting, he said, because he hasn’t been able to find reliable optical-recognition software to convert the handwritten pages into electronic text, so he manually types in the material himself.

The Salinger estate was among the most stubborn holdouts against digitization, and the arrival of his e-books will fill a major gap in the digital library.

“This is the last chip to fall in terms of the classic works,” said Terry Adams, vice president, digital and paperback publisher of Little, Brown. “All of the other estates of major 20th century writers have made the move to e-books, but Matt has been very cautious.”

Matt Salinger resisted requests to issue e-books for years, knowing his father’s aversion to the internet. He once tried to explain Facebook to him and remembers he was “horrified” by the notion of digital oversharing.

“I hear his voice really clearly in my head, and there’s no doubt in my mind about 96 percent of the decisions I have to make, because I know what he would have wanted,” Mr. Salinger said. “Things like e-books and audiobooks are tough, because he clearly didn’t want them.”

Mr. Salinger began to consider releasing e-books around 2014, after a woman in Michigan wrote to him, saying she had a disability that made it difficult for her to read printed books. Then, during a trip to China earlier this year, he realized that many young people overseas read exclusively on phones and digital devices, and that e-books were the only way to get his father’s writing in front of them.

He finally acquiesced to digital editions of Salinger’s four books — ”The Catcher in the Rye,” “Nine Stories,” “Franny and Zooey,” and “Raise High the Roof Beam, Carpenters and Seymour—An Introduction.”

He has also explored the possibility of releasing audiobook editions but said his father abhorred the idea of his books being performed or interpreted in any way in another medium.

His father “was leery of many things, but he had a profound love for his readers,” Mr. Salinger said. “He wouldn’t want people to not be able to read his stuff.”

When it comes to releasing unpublished material, Mr. Salinger feels less ambivalent. His father always made it clear that he intended to publish more one day, but didn’t want to deal with the media storm, he said.

“He’d say, ‘This is the year, I’m getting things together,’ and then when it came time to do it, he just couldn’t do it,” he said. “It took too much out of him, the attention was too great.”

Mr. Salinger plans to proceed cautiously but feels the weight of his father’s legacy, the expectations that his many fans have. A woman in her 80s wrote to him, begging him to release his father’s writing so that she can read it before she dies, he said. It pains him to think of her, and that he might let her and other readers down by taking too long.

“That is a kind of pressure,” he said. He thought of his father again, adding, “He would have been moved by letters like that, too.”

Source link Nytimes.com

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