As nearly as possible in the spirit of Matthew Salinger, age one, urging a luncheon companion to accept a cool lima bean, I urge my editor, mentor and (heaven help him) closest friend, William Shawn, genius domus of The New Yorker, lover of the long shot, protector of the unprolific, defender of the hopelessly flamboyant, most unreasonably modest of born great artist-editors to accept this pretty skimpy-looking book.
Interpretation
The quote reflects the author's plea for acceptance of their work, emphasizing the value of imperfection and individuality.
In this quote, J.D. Salinger conveys a heartfelt request to his editor and close friend, William Shawn, to accept his book despite its modest appearance. It underscores the importance of recognizing and valuing creativity, even when it may seem flawed or unconventional, and highlights the unique bond between the creator and editor in the literary world.
In practice
During a literary event, one could quote this to emphasize the beauty in flawed creations.
Against my better judgment I feel certain that somewhere very near here—the first house down the road, maybe—there's a good poet dying, but also somewhere very near here somebody's having a hilarious pint of pus taken from her lovely young body, and I can't be running back and forth forever between grief and high delight.
I'm not afraid to compete. It's just the opposite. Don't you see that? I'm afraid I will compete — that's what scares me. That's why I quit the Theatre Department. Just because I'm so horribly conditioned to accept everybody else's values, and just because I like applause and people to rave about me, doesn't make it right. I'm ashamed of it. I'm sick of it. I'm sick of not having the courage to be an absolute nobody. I'm sick of myself and everybody else that wants to make some kind of a splash.
Each of his phrases was rather like a little ancient island, inundated by a miniature sea of whiskey.
My brother Allie had this left-handed fielder's mitt. he was left handed. The thing that was descriptive about it though, was that he had poems written all over the fingers and the pocket and everywhere. In green ink. He wrote them on it so that he'd have something to read when he was in the field and nobody was up to bat
Who in the Bible besides Jesus knew--knew--that we're carrying the Kingdom of Heaven around with us, inside, where we're all too goddam stupid and sentimental and unimaginative to look?
You can hit my father over the head with a chair and he won't wake up, but my mother, all you have to do to my mother is cough somewhere in Siberia and she'll hear you.
Burmese authors and artists can play the role that artists everywhere play. They help to mold the outlook of a society - not the whole outlook, and they are not the only ones to mold the outlook of society, but they have an important role to play there.
Most people wait for the muse to turn up. That's terribly unreliable. I have to sit down and pursue the muse by attempting to work.
The characters I've played, especially Bret Maverick and Jim Rockford, almost never use a gun, and they always try to use their wits instead of their fists.
Singing into a microphone and learning to play an instrument and learning to do your craft, that's the most important thing for people to do.
Stories of all lengths and depths come from different parts of the cave. For a novel, you must lay in mental, physical and spiritual provision as for a siege or for a time of hectic explosions, while a short story is, or can be, a steady, timed flame like the lighting of a blow lamp on a building site full of dry tinder.
I love hanging and drawing and quartering_x000D_ Every bit as well as war and slaughtering.
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