Word: salters
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Dates: during 1990-1999
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...Every salter's loaded and ready," said dispatcher Paul A. Gassidy of the Cambridge Department of Public Works. "They're all...on the main roads. As soon as it starts, they'll be working...
Born in New Jersey in 1925, Salter grew up in Manhattan, graduated from West Point and chose to serve with the Army Air Corps, as it was then called. During the Korean War, he was an F-86 fighter pilot, along with pioneering astronauts Gus Grissom and Buzz Aldrin. After 15 years in uniform, he resigned his commission to write full time. Hollywood beckoned--he scripted one of Robert Redford's early hits, Downhill Racer--but Salter eventually retreated to Colorado and New York's Long Island to concentrate on his meticulously crafted novels and short fiction. (A collection, Dusk...
...irritatingly vague. Here, in a small paradigm of exactitude, is the way he capsulizes a friend, Robert Phelps: "He was fond of books; steak tartare; gin from a green bottle poured over brilliant cubes each afternoon at five, the ice bursting into applause; cats; beautiful sentences; Stravinsky; and France." Salter's episodic memoir is studded with such fond remembrances of things, and persons, past: an insouciantly comfortable whore at a chic brothel in Morocco; that aged lion of a writer Irwin Shaw, drawn irresistibly to womanly beauty. "The great engines of this world," Salter notes, "do not run on faithfulness...
Nonetheless, it would be hard to build a full-scale biography from Burning the Days. When and why, for example, did Salter decide to change his family name? (He was born James Horowitz.) Salter tells us that a captain's wife with whom he had a doomed, adulterous affair in Hawaii "put her mark on me" in a subtle, feminine way by choosing the girl he would wed. But what was the girl's name, and how did that marriage dissolve? In the preface to his memoir, Salter raises, but then brushes aside, the possibility that what one chooses...
...Garton Ash writes, "the temptation is always to pick and choose your past," since a kind of Heisenberg uncertainty principle applies: the very act of opening a door into one's personal history changes the artifacts buried inside. That observation applies as much to James Salter's stylish Burning the Days as to Garton Ash's sprightly The File...