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By Warren G. French

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Private life was his own; and not only had he the right to defend that privacy, but the public had the duty to do so since one man's liberty must stop at exactly the point where the next one's begins. 44 Salinger's refusal to grant adaptation rights to his work is less defensible than his shunning publicity. Although we may sympathize with his desire to keep his work from being distorted as it was by those responsible for the film "My Foolish Heart," Salinger's reported comment, when Elia Kazan requested the right to dramatize The Catcher in the Rye, that "Holden wouldn't like it" 45 is either contemptuous facetiousness or the result of really startling intellectual immaturity.

During in authors. Although taste his public only something about discuss to he refused contemporary figures, he did once tell William Maxwell that he loves "Kafka, Flaubert, Tolstoy, Chekhov, Dostoevsky, Proust, O'Casey, Rilke, Lorca, Keats, Rimbaud, Burns, E. " devoted craftsmen and self-proclaimed seers, but with a prethe irrational. Except for ponderance of those preoccupied with of the surprising inclusion Jane Austen, the great intellectual satirists from Dante to George Bernard Shaw are conspicuously absent.

SALINGEB he would supply it interpretation of his work were needed, himself, Such an attitude suggests a childishly petulant desire not to let anybody else play with his toys. " in withholding inforSalinger has been remarkably successful a from tastes his mation about public that covets such personal "inside dope," although the nervous strain of preserving his his 'career he has made secrecy must be great indeed. During in authors. Although taste his public only something about discuss to he refused contemporary figures, he did once tell William Maxwell that he loves "Kafka, Flaubert, Tolstoy, Chekhov, Dostoevsky, Proust, O'Casey, Rilke, Lorca, Keats, Rimbaud, Burns, E.

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