Salinger is a 2013 documentary film about the reclusive writer J. D. Salinger directed and produced by Shane Salerno; the film tells the story of Salinger's life through interviews with friends and journalists. The film premiered at the 40th annual Telluride Film Festival and had a second premiere on the opening night of the Toronto International Film Festival. Salinger was one of the top-ten highest-grossing documentaries of 2013, with the highest per screen average of all the films that were released on its opening weekend. Two million viewers watched its broadcast on American Masters on PBS. According to Salerno, the project started as a feature film, with Daniel Day-Lewis as his choice to play Salinger. Buddy Squires, Emmy-winning and Oscar-nominated cinematographer, was hired to shoot the film. On January 29, 2010, the website Deadline Hollywood first reported on the documentary, kept secret for five years. Michael Fleming, the first journalist to view the film, called it "arrestingly powerful and exhaustively researched".
Additionally, Fleming announced that Salerno had co-written a 700-page biography on Salinger with New York Times bestselling author David Shields. On February 4, 2010, Entertainment Weekly detailed the elaborate security surrounding the film; when American Masters executive producer Susan Lacy read about the project, she began a three-year pursuit to acquire the television rights to the documentary. On January 27, 2013, Lacy and PBS American Masters concluded a deal for the domestic television rights to Salinger for a low-seven-figure sum. Lacy said: "Shane's film is an extraordinary piece of work. With the embargo lifted, it is my intellectual and emotional thrill to bring the inimitable J. D. Salinger into the American Masters library. I cannot envision a more appropriate subject for our 200th broadcast in January."On February 27, 2013, it was announced that producer Harvey Weinstein had acquired the documentary for theatrical distribution after being the only studio head to see the finished film following the 85th Academy Awards.
Weinstein stated: "Shane Salerno has created a haunting piece of documentary filmmaking in Salinger. We are in awe of the painstaking detail used in depicting a man who created timeless works of literature, but otherwise remained an enigma for so many years." The theatrical purchase price was $2 million and the release date of September 6, 2013 was chosen so that the film could be a candidate for the 86th Academy Awards. It did not receive a nomination. Stephen Adly Guirgis Tom Wolfe Gore Vidal E. L. Doctorow A. Scott Berg John Guare Philip Seymour Hoffman Edward Norton John Cusack Martin Sheen Judd Apatow Danny DeVito Elizabeth Frank Margaret Salinger Robert Towne Joyce Maynard The film score was composed by Grammy Award-winning composer Lorne Balfe, it was released on September 2013 by Decca Records, part of the Universal Music company. Salinger received mixed reviews. Critics such as Peter Rainer from The Christian Science Monitor called the film both "fascinating and infuriating"; when Salinger premiered at the Telluride Film Festival, Pete Hammond of Deadline Hollywood noted that the "riveting and stunning" film "caused a stir" at the festival.
Ken Burns moderated the post-screening panel discussion and called the film "extraordinary." The first official reviews from the Festival both were grades of "B+", with Eric Kohn of Indiewire calling Salinger "unquestionably enthralling," adding that it "capably strips away the fanaticism associated with his books to create the impression of a human being," and Chris Willman of The Playlist calling the film a "compelling mystery yarn." Marlow Stern of The Daily Beast wrote a piece after the Telluride premiere, saying "it is unbelievable how much research went into the making of this film, it shows on screen," adding that Salinger is "equal parts fascinating and exploitative, but one can’t deny the astounding level of comprehensiveness on display."Claudia Puig of USA Today gave the film three out of four stars, saying "insightful gems are unearthed throughout the flawed but engrossing Salinger...it's an exhaustively researched look at a compelling subject." Michael Ordona wrote in San Francisco Chronicle that "Salinger overcomes some melodramatic moments and hit-or-miss cinematic devices to present a fascinating picture...a complex portrait of a complex man."
Richard Roeper of Chicago Sun-Times wrote that Salinger is a "valuable and engrossing biography of the author of arguably the most beloved American novel of the 20th century." In the Los Angeles Times, Kenneth Turan stated that "the photographs and information Salerno unearthed over all that time are impressive" and that the documentary is "energetic, informative and at times over-dramatized." Mike Scott of The Times-Picayune gave the documentary four out of five stars, calling it "comprehensive and exhaustively researched...on the whole, Salinger is an engrossing and eye-opening film." In the Seattle Times, Soren Andersen wrote the film is "rich in anecdote and visually arresting."By contrast, writing in The New York Times, A. O. Scott found the film "garish and confusing," as well as "sloppy in matters of judgment and craft." Scott found that it "does not so much explore the life and times of J. D. Salinger as run them through a spin cycle of hype." In Vanity Fair, Bruce Handy called the film "awful," "breathless," "humid" and "overheated."
Handy cited its many re-enactments, dubious use of personalities such as Martin Sheen as Salinger authorities, "unforgivable use of corny cinematic devices to fill in the gaps and goose its own drama." He concluded, "In elevating Salinger into a gothic superman, the Dr. Doo
Salinger is a New York Times best-selling biography by David Shields and Shane Salerno published by Simon & Schuster in September 2013. The book is an oral biographical portrait of reclusive American author J. D. Salinger, it explores Salinger’s life, with emphasis on his military service in World War II, his post-traumatic stress disorder, his subsequent writing career, his retreat from fame, his religious beliefs and his relationships with teenage girls. Salinger debuted at #6 on the New York Times bestsellers list and stayed on the list for three weeks, it was #1 on the Los Angeles Times bestsellers list. Additionally, Salinger was named to the bestsellers lists for NPR, Independent Booksellers, Barnes & Noble, it was named the Amazon Best Book of the Month in September 2013, received starred reviews from Kirkus Reviews and Publishers Weekly, was chosen as a Book of the Month Club Selection and the History Book Club Selection for September 2013. The accompanying documentary Salinger was featured as the 200th episode of American Masters on PBS.
On January 29, 2013, The New York Times announced Schuster acquired the biography. Jonathan Karp, the publisher at Simon & Schuster, stated: "We are honored to be the publisher of what we believe will be the foundational book on one of the most beloved and most puzzling figures of the 20th century. Many of us who read The Catcher in the Rye have, at some point in our lives, wished we could know the author better. Now, we can."Salinger is the 17th book by David Shields and the first book by author and producer Shane Salerno. Salerno's interest in Salinger began when, as a child, he read all of Salinger's published work and learned that the author had retreated from public life to live in a rural town in New Hampshire, where he ostensibly wrote every day yet vowed never to publish again. Salerno began researching Salinger's life and, after beginning production on his documentary film Salinger, felt there was too much information for the film; this resulted in the book, which took 10 years to complete and entailed over 200 interviews on five continents.
Scott Bowles in USA Today gave Salinger 3 ½ out of 4 stars: "Eloquently written and exhaustively reported... Salinger is an unmitigated success... There's no denying that Salerno have struck journalistic gold. Salinger is a revelation, offers the most complete picture of an American icon, a man deified by silence, haunted by war, frustrated in love—and more frail and human than he wanted the world to know." Lev Grossman of Time said Salinger "presents a decade's worth of genuinely valuable research... There are riches here... Salinger doesn't excuse its subject's personal failings, but it helps explain them: in his fiction, Salinger had a chance to be the good, untraumatized man he couldn't be in real life." John Walsh of The Sunday Times called the book "A stupendous work." David Ulin of Los Angeles Times wrote, that "Salinger gets the goods on an author's reclusive life... it strips away the sheen of his exceptionalism, trading in his genius for something much more real." Associated Press said Salinger was "thoroughly documented...
Providing by far the most detailed report of unreleased material, the book... both fleshes out and challenges aspects of the author's legend." Tina Jordan of Entertainment Weekly gave the book a grade of B-, saying that "the reminiscences are layered with a stunning array of primary material…taken as a whole—the memories, the documents, the pictures—the book feels as close as we'll get to being inside Salinger's head," while writing that the book is "a bit of a shambling, unwieldy mess." Kirkus Reviews called it a "thoroughly revealing biography," stating that "Shields and Salerno chase down the story in minute detail." Laura Miller in Salon said that the book is "refreshingly frank about their subject's many shortcomings and how they might have affected his work... Salinger amply documents the author's youthful arrogance and selfishness, his infatuation with his own cleverness and his inability to see the world from the perspective of anyone who wasn't a lot like himself." Jeff Simon wrote in Buffalo News that this is a "now-irreplaceable book about the greatest enigma of modern American literature... Salinger can't tell'all' about its subject but it tells more than we've known before... a complex but well-constructed narrative composed of fragments of history and commentary."
Tucker Shaw in The Denver Post called the book "an exhaustively detailed portrait of the famously reclusive novelist J. D. Salinger."Carl Rollyson in The Wall Street Journal wrote that while the book was "engrossing," it "is biography as scrapbook, chock-full of well-known figures and well-worn stories." Rollyson said that Salinger "would be more fun if it had an index, so that the dopey parts could be skipped." He concluded, "Salinger never comes together as a story for readers" and suggested that "the raw material in Salinger will need to be digested by yet another biographer... We have waited so long to understand J. D. Salinger. We must wait longer." In The New York Times, Michiko Kakutani thought that the authors had done "an energetic job of finding sources and persuading them to talk" but the books's "Internet-age narrative" and "sloppy scholarship," made it "a sprawling, cut-and-paste collage." Writing in London Guardian, Sam Leith said that the volume contained "new and fascinating nuggets" and "isn't worthless."
But he summarized it as "vast, boastful, intellectually incoherent and philistine" and "a frustrating hodgepodge." "uch of what is in here has no real bearing on Salinger's works themselves," wrote Martin Rubin in The Washington Times, "and is yet another contribution to what Joyce Carol Oates pungently termed pathography." Rubin a
Rebel in the Rye
Rebel in the Rye is a 2017 American biographical drama film directed and written by Danny Strong. It is based on the book J. D. Salinger: A Life by Kenneth Slawenski, about the life of writer J. D. Salinger during and after World War II; the film stars Nicholas Hoult, Zoey Deutch, Kevin Spacey, Sarah Paulson, Brian d'Arcy James, Victor Garber, Hope Davis, Lucy Boynton. The film had its world premiere at the Sundance Film Festival on January 24, 2017, was released by IFC Films on September 8, 2017; the life of author J. D. Salinger from his youth to the World War II era, including his romantic life and the publication of his debut novel The Catcher in the Rye. Nicholas Hoult as J. D. Salinger, an American author Zoey Deutch as Oona O'Neill, the daughter of playwright Eugene O'Neill and the romantic partner of the young Salinger. Kevin Spacey as Whit Burnett, a lecturer at Columbia University, editor of the Story magazine, a mentor of young Salinger. Sarah Paulson as Dorothy Olding, the loyal agent who supported the young Salinger throughout his career.
Brian d'Arcy James as Giroux Victor Garber as Salinger's father. Hope Davis as Miriam Salinger, Salinger’s mother. Lucy Boynton as Claire Douglas James Urbaniak as Gus Lobrano Adam Busch as Nigel Bench Jefferson Mays as William Maxwell On April 29, 2014, it was announced that screenwriter-actor Danny Strong would make his directorial debut with biographical film Salinger's War, based on the non-fiction book J. D. Salinger: A Life by Kenneth Slawenski, about the life of young author J. D. Salinger during the early 1940s. Strong bought the book with his own money and adapted the film's script, which Black Label Media would finance, while Molly Smith, Trent Luckinbill, Thad Luckinbill would produce the film along with Bruce Cohen, Jason Shuman, Strong. On August 31, 2015, Nicholas Hoult was cast in the biopic to play Salinger, the film was re-titled as Rebel in the Rye. On January 19, 2016, Kevin Spacey joined the film to play Whit Burnett, a lecturer at Columbia University, editor of the Story magazine, a mentor of the young Salinger.
On February 12, 2016, Laura Dern (not in movie}, Brian d'Arcy James, Hope Davis signed on to star in the film for unspecified roles. On March 9, 2016, Zoey Deutch joined the film to play the playwright Eugene O'Neill's daughter Oona O'Neill, who had a relationship with Salinger, following her, Victor Garber joined the film on next day to portray the role of Salinger's father, Sol Salinger. On April 7, 2016, Lucy Boynton joined the film for an unspecified role, following her Sarah Paulson was cast in the film on April 26 to play Dorothy Olding, the loyal agent who supported the young Salinger throughout his career. In May 2016, it was revealed. Bear McCreary composed the film's score. Principal photography on the film began on April 2016 in New York City; the film had its world premiere at the 2017 Sundance Film Festival on January 24, 2017. Shortly after, IFC Films acquired distribution rights to the film, it was theatrically released on September 8, 2017. Rebel in the Rye had a limited release in four theaters in its first week, expanded to 45 more screens in second week.
In its first week of release, the film made $44,280, in its second week, it grossed $101,118 in the 49 theaters, with a cumulative total of $154,326. On review aggregation website Rotten Tomatoes, the film has an approval rating of 28% based on 75 reviews, an average rating of 5.2/10. On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score 46 out of 100, based on reviews from 29 critics, indicating "mixed or average reviews". Jordan Hoffman of The Guardian gave three stars out of five, saying, "J. D. Salinger drama catches attention but sinks into cliche". Rebel in the Rye on IMDb Rebel in the Rye at Rotten Tomatoes
Verdun is a borough of the city of Montreal, situated along the St. Lawrence River, it consists of the former city of Verdun, merged with the city of Montreal on January 1, 2002. The settlement of Verdun was founded in 1671. In 1956, Nuns' Island was amalgamated with Verdun, on the Island of Montreal; the borough of Verdun is located in the southwestern part of the Island of Montreal and includes Nuns' Island. The part on the Island of Montreal is bounded to the southwest by LaSalle, to the northwest by the borough of Le Sud-Ouest and the Canal de l'Aqueduc, to the northeast by the Pointe-Saint-Charles and the Décarie Autoroute, to the southeast by the St. Lawrence River. Verdun proper and Nuns' Island are joined by the Pont de l'Île-des-Sœurs on Aut. 15, part of the Champlain Bridge complex that crosses Nuns' Island and links it to Brossard on the south shore of the St. Lawrence; the borough administration divides Verdun into three neighbourhoods: Desmarchais-Crawford, which includes dense early 20th-century residential development, the sprawling Douglas Hospital campus, the post-war suburban area of Crawford Park.
Archaeological traces in and around the Maison Nivard de Saint-Dizier in western Verdun demonstrate the presence of Aboriginal people in Verdun as early as 4,000 years ago. Verdun had its origins in as an area known as Côte des Argoulets at the foot of the Lachine Rapids, it was a militarized area, with concessions given to militiamen who agreed to guard the area against an Iroquois assault on the colony of Ville-Marie. In 1671, the Sulpician Order, lords of the Island of Montreal since 1663, granted the area as a fief to Major Zacharie Dupuis, chief of the Montreal militia, he is believed to have named the area after his natal village of Saverdun in southwestern France. Côte des Argoulets was renamed Côte de Verdun shortly afterward, he donated his land to St. Marguerite Bourgeoys, founder of the Congrégation de Notre-Dame, who in turn sold it to Étienne Nivard de Saint-Dizier in 1769; the nuns' building, now called the Maison Nivard de Saint-Dizier, still exists. Following the Great Peace of Montreal in 1701 between the French and the Iroquois, which reduced the military threat to settlers in the southwest of the island, farmers settled the area along Lower Lachine Road, now boulevard LaSalle.
Around 1800, Chemin de la Rivière-Saint-Pierre was opened. The Canal de l'Aqueduc, now Verdun's northwestern boundary, was dug in 1854 to furnish Montreal with drinking water from the St. Lawrence. In 1874, a group of local land-owners met in a farmhouse called Le Pavillon, located at the corner of Lower Lachine Road and Chemin de la Rivière-Saint-Pierre, decided to found the village of Rivière-Saint-Pierre. Chartered by the government of Quebec, it became the municipality of Verdun the following year. Settlement had been hampered due to frequent flooding, but a dyke was built starting in 1896; the dyke itself became host to Verdun's popular Boardwalk, before land reclamation in the 70s led to the expansion of the waterfront park along the whole length of Verdun's riverbank. The first Église Notre-Dame-des-Sept-Douleurs was built in 1899, followed by a combined town hall, fire hall, police station in 1908; the tramway arrived in 1899, connecting Verdun to downtown. A larger Église Notre-Dame-des-Sept-Douleurs was built in 1914.
In 1881, the Montreal Hospital for the Insane was founded as a Protestant counterpart to the Catholic Hôpital Saint-Jean-de-Dieu east of the city. It would be built on two farms, purchased in the western end of Verdun. Affiliated with McGill University in 1946, it was renamed the Douglas Hospital in 1965. Today, not only is it one of Verdun's largest public institutions, but its campus is one of the borough's most important greenspaces. Verdun became a town in 1907 and a city in 1912. Between 1911 and 1924 the population tripled and urbanization expanded "westward", the farms were divided for residential use; the Moffat area west of rue Desmarchais was built in with "plexes"—the typical Montreal layered apartment—between 1920 and 1930, the Crawford Park area in the far west of the town was built starting in 1945, in a more suburban style unlike the orthogonal grid used in the rest of Verdun. The Verdun Natatorium was built in 1930, the Verdun Hospital in 1932, the Verdun Auditorium in 1938; the city was chiefly English-speaking.
According to historian Serge Durflinger, Verdun residents made a massive contribution to the Canadian war efforts in World War I and World War II, due to the many British immigrants living there who enthusiastically joined the Canadian armed forces. The municipality of Île-Saint-Paul, occupying what was by universally known as Nuns' Island or Île des Sœurs, was annexed to Verdun in 1956. A chiefly agricultural area, it was urbanized following the opening of the Champlain Bridge in 1962, with development including contributions by the famous Modernist architect Ludwig Mies van der Rohe. Rapid development
Narcissism is the pursuit of gratification from vanity or egotistic admiration of one's idealised self image and attributes. The term originated from Greek mythology, where the young Narcissus fell in love with his own image reflected in a pool of water. Narcissism is a concept in psychoanalytic theory, popularly introduced in Sigmund Freud's essay On Narcissism; the American Psychiatric Association has listed the classification narcissistic personality disorder in its Diagnostic and Statistical Manual of Mental Disorders since 1968, drawing on the historical concept of megalomania. Narcissism is considered a social or cultural problem, it is a factor in trait theory used in various self-report inventories of personality such as the Millon Clinical Multiaxial Inventory. It is one of the three dark triadic personality traits. Except in the sense of primary narcissism or healthy self-love, narcissism is considered a problem in a person's or group's relationships with self and others. Narcissism is not the same as egocentrism.
The term "narcissism" comes from the Greek myth about Narcissus, a handsome Greek youth who, according to Ovid, rejected the desperate advances of the nymph Echo. This caused Narcissus to fall in love with his own reflection in a pool of water. Unable to consummate his love, Narcissus "lay gazing enraptured into the pool, hour after hour," and changed into a flower that bears his name, the narcissus; the concept of excessive selfishness has been recognized throughout history. In ancient Greece the concept was understood as hubris, it is only more that narcissism has been defined in psychological terms. In 1752 Jean-Jacques Rousseau's play Narcissus: or the Self-Admirer was performed in Paris. In 1898 Havelock Ellis, an English psychologist, used the term "Narcissus-like" in reference to excessive masturbation, whereby the person becomes his or her own sex object In 1899, Paul Näcke was the first person to use the term "narcissism" in a study of sexual perversions. Otto Rank in 1911 published the first psychoanalytical paper concerned with narcissism, linking it to vanity and self-admiration.
Sigmund Freud published a paper on narcissism in 1914 called "On Narcissism: An Introduction". In 1923, Martin Buber published an essay "Ich und Du", in which he pointed out that our narcissism leads us to relate to others as objects instead of as equals. Four dimensions of narcissism as a personality variable have been delineated: leadership/authority, superiority/arrogance, self-absorption/self-admiration, exploitativeness/entitlement; these criteria have been criticized. Behavior is observable, thus classification requires assumptions which need to be tested before they can be asserted as fact considering multiple explanations could be made as to why a person exhibits these behaviors. Psychiatrists Hotchkiss and James F. Masterson identified what they called the seven deadly sins of narcissism: Shamelessness: Narcissists are proudly and shameless. Narcissists hate shame, consider it "toxic", as shame implies they are not perfect and need to change. Narcissists prefer guilt over shame, as guilt allows them to dissociate their actions from themselves - it's only their actions that are wrong, while they themselves remain perfect.
Magical thinking: Narcissists see themselves as perfect, using distortion and illusion known as magical thinking. They use projection to "dump" shame onto others. Arrogance: A narcissist, feeling deflated may "reinflate" their sense of self-importance by diminishing, debasing, or degrading somebody else. Envy: A narcissist may secure a sense of superiority in the face of another person's ability by using contempt to minimize the other person or their achievements. Entitlement: Narcissists hold unreasonable expectations of favorable treatment and automatic compliance because they consider themselves special. Failure to comply is considered an attack on their superiority, the perpetrator is considered an "awkward" or "difficult" person. Defiance of their will is a narcissistic injury. Exploitation: Can take many forms but always involves the exploitation of others without regard for their feelings or interests; the other person is in a subservient position where resistance would be difficult or impossible.
Sometimes the subservience is not so much real. This exploitation may result in many short-lived relationships. Bad boundaries: Narcissists do not recognize that they have boundaries and that others are separate and are not extensions of themselves. Others may as well not exist at all; those who provide narcissistic supply to the narcissist are treated as if they are part of the narcissist and are expected to live up to those expectations. In the mind of a narcissist, there is no boundary between self and other. Narcissistic personality disorder affects an estimated 1% of the general population. Although most individuals have some narcissistic traits, high levels of narcissism can manifest themselves in a pathological form as narcissistic personality disorder, whereby the individual overestimates his or her abilities and has an excessive need for admiration and affirmation. NPD was revised in the DSM-5; the general move towards a dimensional view of the Personality Disorders has been maintained.
Some narcissists may have a minimal capability to experience emotions. The Cochrane Collaboration has commissioned two reviews of th
Alphonse and Gaston
Alphonse and Gaston was an American comic strip by Frederick Burr Opper, featuring a bumbling pair of Frenchmen with a penchant for politeness. They first appeared in William Randolph Hearst's newspaper, the New York Journal on September 22, 1901, in a strip titled: Alphonse a la Carte and His Friend Gaston de Table d'Hote; the strip was distributed by King Features Syndicate. Their "After you, Alphonse.", "No, you first, my dear Gaston!" Routine entertained readers for more than a decade. Alphonse was grotesque; the strip's premise was that both were polite bowing and deferring to each other. Neither could do anything or go anywhere because each insisted on letting the other precede him. Though never a daily or weekly feature and Gaston appeared on Sundays for several years. In addition to Hearst collections and licensed products, it was adapted into a stage play and several comedy shorts. A prolific artist and writer, Opper's other creations included Willie, Hans from Hamburg, Our Antediluvian Ancestors, And Her Name Was Maud and Happy Hooligan.
The characters would make guest appearances outside their own strips. On one occasion, And Her Name Was Maud featured an appearance by Alphonse and Gaston aboard a runaway sleigh, each of them bowing to the other in the seat; the strip faded from public view shortly after Opper's death in 1937, but the catchphrase "After you, my dear Alphonse" lived on. It continues to the present day, spoken in situations when two people are being overly courteous to each other, or when a person receives a dare to do something difficult or dangerous or both. Sometimes it is said when two people are trying to go through the same doorway and awkwardly stop, each to let the other go through; the phrase "Alphonse-and-Gaston routine", or "Alphonse-Gaston Syndrome", indicates a situation wherein one party refuses to act until another party acts first. From a September 23, 2009, New York Times editorial: "For years and the United States have engaged in a dangerous Alphonse-and-Gaston routine, using each other’s inaction to shirk their responsibility."
Alphonse and Gaston exchanges have been employed by sportscasters during baseball broadcasts when two outfielders go after the ball and it falls in for a base hit. The phrase has a specific meaning in baseball lingo: when two fielders allow a catchable ball to drop between them, it is known as “doing the Alphonse and Gaston.” Goofy Gophers Deadlock Ohio Cartoonists: A Bicentennial Celebration: Frederick Burr Opper