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Across the River. Soon Salinger was much too absorbed with writing to need the Village, and he began a series of withdrawals. The first took him to a cottage 24 miles away, in Tarrytown. Friends apparently found his address, because he hid out in a sweatbox near the Third Avenue el for his three-week push to finish Catcher. He decided to move again, and in one of the notable failures of Zen archery, hit on Westport. The artsy-ginsy exurb was no place for Salinger. "A writer's worst enemy is another writer," he remarked ungraciously and accurately somewhat...
...documents that he retrieved from his wife's nephew, who had stored them inside an unused dumb-waiter shaft. But even then, Chambers did not produce the microfilm-later he explained that he was afraid it might contain material that would damage other people. With characteristic melodrama, Chambers hid the film roll in a hollowed-out pumpkin in a field on his Maryland farm, surrendered it only when he became convinced that a committee counsel suspected him of withholding evidence. Discouraged by the "indifference" of the world, Chambers later said he had tried to kill himself during the trials...
...enough to blurt: "Either I am a second Michelangelo or I'm an ass!" What follows is the detailed story of his success (when he wins his first noble patron), his failure (when his celebrated Night Watch insults prominent members of the local militia, whose faces he partially hid in the background), and his Job-like sufferings. One by one, father, mother, crippled brother and spinster sister go to their graves. Three children are either stillborn or die in infancy before a sickly son survives. Then the wife dies, the child's loving nurse goes mad, an apprentice...
...hid a theology book in a divan...
...rumpled man with hair like a boxwood hedge and a permanent expression of bereavement. Kaufman hid a marshmallow heart with a manner that discouraged nicknames. To the actors in the 40 plays he directed (many of his own. and such others as Of Mice and Men, My Sister Eileen and Guys and Dolls), he spoke like a young mother. But he terrified waiters, suffered fools badly, and did not welcome familiarity from underlings-or from overlings either, as Critic Alexander Woollcott. his boss when Kauf man was on the drama desk of the New York Times, reported with asperity...