Salinger "遗失"的小说？！

转载 它们真的存在吗？ 它们会重见天日吗？ "Lost" "The Survivors" (1940) 1939-1940, Salinger twice submitted this story for publication. In September 1940, long after it was first refused, he pulled it out of a bottom drawer and started looking at it's ambiguous ending. Re-written with a sure ending, it was re-submitted to Story magazine, who again rejected it. "Perhaps" Salinger guessed, "I should have left it in the bottom drawer." An Untitled Hotel Story (Summer, 1940) - In mid-1940, Salinger makes several references to a lengthy story written in Canada over the summer, about lobby sitters in a hotel. The inscription of an August 1940 postcard sent to Burnett of a Quebec hotel sent possibly hints at this story. In September, Salinger states that he has finally "shipped off the long hotel story" to his agent. Salinger's obvious fondness for this story makes its disappearance a mystery. "The Fishermen " (1941) According to Ben Yagoda, on March 17, 1941, Salinger submits this story to John Mosher at The New Yorker. "Lunch for Three" (1941) Although rejected by The New Yorker in 1941, "Lunch for Three" is the first Salinger story to receive positive feedback from them. Mosher wrote Salinger's agent that "there is certainly something quite brisk and bright about this piece". The magazine, however, was searching for short stories of a more conventional nature. "I Went to School with Adolph Hitler" (1941) Submitted to The New Yorker in 1941 "Monologue for a Watery Highball" (1941) Submitted to The New Yorker in 1941 "The Lovely Dead Girl at Table Six" (1941) The plot of this story sounds suspiciously like "Slight Rebellion Off Madison". Written August 1941, Salinger spent a hard, not overly-productive two weeks at the Beekman Towers (a short walk to Radio City). It was during these two weeks that he either re-worked "Slight Rebellion," or wrote this now lost story. "Paula " (1941) "The Kissless Life of Reilly" (1942) Salinger writes that this story was long and humorous. It is likely that this is the story"about an obese boy and his sisters" that Salinger sent off to The New Yorker after its acceptance of "Slight Rebellion Off Madison." Holden On the Bus (1942) In early 1942, The New Yorker rejected a story about Holden Caulfield (the second such story submitted to the magazine). Evidently, it's tone was considered unsuitable for the times and the story was rejected. The source of the story's title is a book by Salinger's friend, A.E. Hotchner. “Men Without Hemingway” (1942) In December of 1942, Salinger described this story as "a satire on the sort of postwar novel young and hectic writers will turn out after [the war]." In 1943, it was rejected by The New Yorker and soon dissapeared. “Over the Sea Let’s Go, Twentieth Century Fox” (1942-43) This story (which may have been an outline for a novel) poked fun at the overly-melodramatic propoganda films of early World War II. Salinger intended it for The New Yorker, but they showed no interest. "The Broken Children" (February 1943) In a 1943 letter, Salinger writes that this story was sent to Story Magazine by his agent. Salinger considered it the first serious story he wrote since his induction into the Army. It was, however, soon eclipsed by other pieces and is now lost. "Rex Passard on the Planet Mars" (May 1943) According to Salinger, this story was sold in 1943, but apparently never published. Salinger's editor thought the story "odd." "Bitsey" (July 1943) In a late 1943 letter to Whit Burnett, Salinger half-jokingly mentions that he hopes to sell this story to The Saturday Evening Post. Salinger said it was about a sweet girl who reaches for people's hands from under tables, but Story Press documents record it as being about an alcoholic. Extremely fond of the story, Salinger was determined to sell it, but once again found the war an obstacle. It's dissapearance is a particular loss. "Are You Banging Your Head Against The Wall?" In October 1941, The New Yorker accepted this piece. In a 1943 letter to Story editor Burnett, Salinger refers to the story by this title. It's a sad little story about a prep school boy on Christmas vacation. The boy's name is Holden Caulfield. At the time, Salinger said that it was the only piece he'd ever written that was-at least spiritually-autobiographical. The teenage boy sitting drunk at the bar was Salinger. The New Yorker refrained from printing the story, as the war starting made the story's disaffected tone inappropriate given the time. Eventually, The New Yorker published a reworked version of this story (Salinger's first in The New Yorker) after the war, December 1946, renamed "Slight Rebellion Off Madison". Top "What Got Into Curtis in the Woodshed" (Early 1944) Salinger submitted this piece to Story magazine who described it as being about a "goofy kid... on a fishing trip." It was rejected and has since dissapeared. "Total War Diary" (Early 1944) Salinger refers to this title in a May 1944 letter to Whit Burnett, describing an interesting sounding new work he has just completed, six thousand words long and called "Total War Diary." Salinger called it a hectic, sweet-and-sour diary-form job done by an eighteen-year-old girl. She records the history of her own sad, never-meant-to-be War Marriage (of which I've seen plenty)...loaded with psychological clues." The same letter mentions Ring Lardner's "I Can't Breathe," a story of similar format. It seems certain that "Total War Diary" and "The Children's Echelon" are the same story. "Boy Standing in Tennessee" (Early 1944) Nothing is known of this story. However, in a September 9, 1944 letter to Story editor Whit Burnett, Salinger mentions having recently "written six [short stories] and working on three more." Of the written stories, Salinger cites "Boy Standing in Tennessee" and "Two Lonely Men" as being "really good." Included in lists of Salinger's best works, documented in 1944, 1945, and 1946, its loss would be an acute mystery. However, it is likely that the story was slightly reworked and published as "This Sandwich Has No Mayonnaise." "What Babe Saw" or "Ooh-La-La!"(Late 1944) Salinger vacillated between these two titles before finally settling on "A Boy in France." "A Young Man in a Stuffed Shirt" (late 1944) Nothing is known of this piece other than it was a war story. Salinger most likely refers to it in a September 1944 list of his most recent works, before it was finished or named. Apparently, Story magazine initially rejected this story only to reconsider after Salinger became famous years later. A 1959 letter from them describes it as "one of the best things of its kind we have read" a story which "stands up beautifully over the years." "The Daughter of the Late, Great Man" (Early 1945) This and "Stuffed Shirt" were in the possession of Whit Burnett, who, in 1959, asked Salinger to let him publish them. Salinger said no and requested the stories back. The story of a famous writer's daughter who marries an old man, it was surely based on the relationship of Oona O'Neill and Charlie Chaplin. It appears in an April 1945 list of Salinger stories. "The Boy in the People Shooting Hat" (194_) Submitted to The New Yorker 1948-49. The story contains a fight between the central character, Bobby, and Stradlater (who is handsome and has sexual experience) over Bobby's feelings for June Gallagher. Fiction editor Gus Lobrano's rejection letter states that "it has passages that are brilliant and moving and effective, but we feel that on the whole it's pretty shocking for a magazine like ours." Lobrano explains that the magazine considers the character of Bobby incomplete. "We can't be quite sure whether his fight with Stradlater was caused by his feelings for June Gallagher, or his own inadequacy about his age (which is brought into relief by Stradlater's handsomeness and prowess), or a suggestion of homosexuality in Bobby." Lobrano's letter goes on to suggest that "the development of the theme of this story requires more space" and "considerably more length." Bobby, of course, later became Holden Caulfield and this story consumes much of chapters 3-7 of The Catcher in the Rye. "The Male Goodbye" (1946) This story is widely believed to be "A Perfect Day for Bananafish" but is likely to be the manuscript entitled "Birthday Boy," held within the archives of the University of Texas. "A Summer Accident" (194_) Submitted to The New Yorker, 1949. After this story, which Salinger was particularly fond of, was turned down by The New Yorker, Salinger decided to put the genre aside and tells editor Gus Lobrano that he had rented a small house in Westport and started work on "the novel about the prep school boy" in earnest. Unless this story is "The Ocean Full of Bowling Balls" it is now lost. "Requiem for the Phantom of the Opera" (1950) Salinger wrote this story immediately after finishing The Catcher in the Rye. In January 1951, it was rejected by The New Yorker. Salinger's editor, Gus Lobrano, suggested that it had been written too soon after the novel and that Salinger was still "imprisoned in the mood and ...scenes" of Catcher. The story has since dissapeared. "Ivanoff, the Terrible" (1956) Most likely an early version of the novella, "Zooey," this title is mentioned in a November 1956 letter to Salinger from a New Yorker editor. It belonged to a long story that Salinger struggled to "compress" enough to fit into the magazine . After working with William Shawn on it for months, Salinger was promised it would appear in the next issue "that could absorb a story of [such] length." "Ivanoff" was "a long section" of a novel that Salinger was writing in 1956-1957, and certainly a Glass story. ~~~~~