Monday, February 15, 2010

"The Catcher in the Bourbon," a parody

I edited this story back in 1974, and commissioned the art, etc. Our little publication was only limited to two highly collectible issues and was seen by not many people, but some of the things in this issue especially are memorable and – it turns out, highly prescient.

This parody of "Catcher" by Bill Majeski is a case in point. And then there is the cover story by Nat Hentoff on Lenny Bruce and a nice article on Miles Davis, bebop and new jazz by moi.

I've created a deluxe limited edition, signed and numbered, of this Salinger tribute. It's a collector's edition, based on a facsimile of the original, printed on TWO SHEETS OF 11" x 17" PREMIUM CARD STOCK.

Please contact me at and I will send you info on how to get one.

This is a parody published by College Monthly October 1974.
© 2010 noemedia.
© 1974. All rights reserved under international conventions. No material may be reproduced without written permission of the publisher.

College Monthly cov 10-1974

Cover photo by Basil Pao
With retouching by Rainbow Graphics, body by Doug, hand by Noë of New York. T-shirt by Harry Gross; photo by UPI, lighting by Chris Callis, and body English by Tom King.

J.D. Salinger R.I.P.

This excellent essay is from The New Yorker. February 8, 2010.

J. D. Salinger
by Adam Gopnik

J. D. Salinger’s long silence, and his withdrawal from the world, attracted more than the usual degree of gossip and resentment—as though we readers were somehow owed more than his words, were somehow owed his personal, talk-show presence, too—and fed the myth of the author as homespun religious mystic. Yet though he may seem to have chosen a hermit’s life, Salinger was no hermit on the page. And so his death throws us back from the myth to the magical world of his writing as it really is, with its matchless comedy, its ear for American speech, its contagious ardor and incomparable charm. Salinger’s voice—which illuminated and enlivened these pages for two decades—remade American writing in the fifties and sixties in a way that no one had since Hemingway. (The juvenilia of most American writers since bear the mark of one or the other.) But if it had been Hemingway’s role to make American writing hardboiled, it was Salinger’s to let it be soft, even runny, again. ....

And this just in ...

Salinger and Lennon: A Fatal Distraction
Posted by Simon Warner
on Rock's Back Pages