1 First edition publication information (publisher, place, date, etc.)

First edition published 1961 by Little, Brown and Company of Boston and Toronto. These stories first appeared in the New Yorker. "Franny" was publis
hed in January of 1955 and "Zooey" in May of 1957.

2 First edition published in cloth, paper, or both? If both, simultaneous or staggered?

First edition published in green cloth. The first paperback edition came out in February of 1964.

3 JPEG image of cover art from first edition, if available

4 Pagination

The first numbered page of the book is the first page of the first chapter, which is numbered page
3. The page numbers appear centered in the bottom of each page inside of a set of brackets.

5 Edited or Introduced? If so, by whom?

n/a

6 Illustrated? If so, by whom?

n/a

7 JPEG image of sample illustration, if available

8 General physical appearance of book (Is the physical presentation of the text attractive? Is the typography readable? Is the book well printed?)

The text is very attractive, it is easily readable without being so large as to appear childish. The typeset of the title on the cover of the b
ook is the same as that on the title page. The individual sections in the book, "Franny" and "Zooey" are also in this typeset. This brushlike script is very attractive and makes for an appealing cover and title page, in spite of their relative simplicit
y.

9 JPEG image of sample chapter page, if available

10 Paper (Assess the original quality of the paper used for the book. Is the paper in the copy or copies you examined holding up physically over time?)

The paper quality of the first cloth edition is excellent. The pages are very thick, almost reminiscent of watercolor paper. The paper of the first paperback edition is of lesser quality, and the pages are fairly closely cropped to the text, but
the paper is holding up very well over time. The cloth edition that I viewed in special collections was in such fabulous condition that I might have easily been convinced that it had never been read.

11 Description of binding(s)

The bindings were also in perfect condition. The
y were glued to light brown colored cardboard. Some glue was visible at the edges of the bindings, but the pages opened easilty so this was not a problem.

12 Transcription of title page

Franny and Zooey J.D. Salinger [Little, Brown graphic of a tall statue in an oval with a large "L" and "B"] Boston * Toronto LITTLE, BROWN, AND COMPANY

13 JPEG image of title page, if available

14 Manuscript Holdings

I was unable to locate any manuscripts of this novel, but as Salinger is extremely reclusive, this is to be expected.

15 Other (typograpical information from title page, etc.)

Salinger himself wrote the dustjacket of the first cloth edition. He spoke mostly about the stories t
hemselves, but added a brief personal note which he said was at his wife's urging.
The dedication is rather unique as well: "As nearly as posible in the spirit of Matthew Salinger, as one, urging a luncheon com- panion 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 flam- boyant, most unreasonably modest of born great artist-editors, to accept this pretty skimpy- looking book.

1 Did the original publisher issue the book in more than one edition? If so, briefly describe distinguishing features of each (illustrations, cover art, typography, etc.); if not, enter N/A

The original publisher issued the book in a cloth edition in January of 1961 and in paper in February of 1964. This publisher has continued to releas
e further printings of the novel, the more recent ones have a different cover. I will be adding an image of this cover in the near future, but it can be briefly described as white with black type centered in the upper portion of the cover with small rain
bow colored stripes in the upper left corner. The book is unillustrated, as was the original.

2 JPEG image of cover art from one subsequent edition, if available

3 JPEG image of sample illustration from one subsequent edition, if available

4 How many printings or impressions of the first edition?

There have been 10 printings of the first edition.

5 Editions from other publishers? If so, list their dates and publishers; if not, enter N/A

A London edition was put out in 1961 and 1962 by Heinemann. Bantam books put out its first paperb
ack version of the book in November of 1969, which is also a first edition to the best of my knowledge.

6 Last date in print?

This book is still in print, last issued in April of 1991 by Little, Brown and Company.

7 Total copies sold? (source and date of information?)

In the years 1961 and 1962 combined the book sold slightly
under 400,000 copies. This information came from a 1962 Publisher's Weekly. I am waiting to hear back from Little, Brown and Company to receive some more recent figures.

8 Sales figures by year? (source and date of information?)

According to the 1963 Bowker's Annual, 10,000 to 15,000 copies of the book were
being ordered a week during the first year of publication, and in total "slighty under 200,000" copies were sold in 1961. In 1962, according to Publisher's Weekly, the book also sold around 200,000 copies. As with question number 7, I am waiting to he
ar back from the publisher to get more up to date figures.

9 Advertising copy (transcribe significant excerpts, briefly identify where ads were placed)

An add in the October 1961 Atlantic Monthly reads as follows: "Little, Brown and Company is proud to present the first appearance in book from of Franny and Zooey, members of a now famous famil
y named Glass created by J.D. Salinger, author of Catcher in the Rye. Available at all bookstores $4.00" The first sentence is shown on the cover of a book, the rest of this black and white add is blank. I am assuming that other literary type magazines
at this time would have held similar advertisements, but as of yet I have been unable to locate them specifically.

10 JPEG image of sample advertisement, if available

11 Other promotion

As the author is rather reclusive, I was not surprised to not find any evidence of either book tours or other public appearances, but
there were several articles written about him around the time of the book's publication in which Franny and Zooey is discussed. A cover story in Time was published in September 15 of 1961 and an article by A. Kazin entitled "J.D. Salinger, Everybody's
Favorite" appeared in the August 1961 Atlantic Monthly.

12 Performances in other media? If so, list media, date, title, production information; if not, enter N/A

I was unable to locate any performances in other media thus far, but a UVa librarian remembers that perhaps it was a play at one point, so I will continue to look for further evidence.

13 Translations? If translated, give standard bibliographic information for each translation. If none, enter N/A

This boo
k was translated into several languages, and in some cases into one language by more than one publisher. Spanish: Franny i Zooey. Barcelona: Edhasa. 1990 Franny y Zooey. Barcelona: Bruguera. 1979 Franny i Zooey. Barcelona: Praha. 1970 Franny y Zooey. Madrid: Alianza Editorial. 1989 Serbian: Freni i Zui. Beograd: Prosveta. 1965 German: Franny und Zooey. Hamburg: Rouohlt. 1963 Franny und Zooey. Koln: Kiepenheuer & Witsch French: Franny et Zooey. Paris: Union generale d'editions. 1980 Japanese: Furani zuii. Tokyo: Arechishuppansha. 1968 Polish: Franny i Zooey. Warsazawa: Czytelnik. 1966 and 1981 Others: Fu-lan-ni yu Tsu-i. T'ai-pei: Huang Kuan ch' pan she. 1970 Franny a Zooey. Praha: Odeon. 1987 Freni ve-Zu'i. Ramat Gan: Kineret. 1988 Franny es Zooey. Budapest: Europa. 1986

14 Serialization? If serialized, give standard bibliographic information for serial publication. If none, enter N/A

Both "Franny" and "Zooey" appeared in the New Yorker. "Franny" appeared in January of 1955 and "Zooey" in May of 1957.

15 Sequels/Prequels? Give standard bibliographic information for each. If none, enter N/A

There are other books about the Glass family, notably Raise High the Roofbeam Carpenters, and Seymour: an Introduction, p
ublished in 1959 by Little, Brown and Company.

1 Paste your biographical sketch here (maximum 500 words)

Jerome David Salinger was born on January 1, 1919 in New York City, the son of Sol Salinger and Marie Jillich. Sol was the son of a rabbi from Cleveland Ohio who worked as a ham importer. Marie changed her name
to Miriam after her marriage. Not much more is known about them. Salinger has one sister, Doris, who still lives in New York. In 1932 as a young man he attended the exclusive McBurney School in Manhattan where he had an interest in drama. His grades w
ere not stellar, especially in math, and he flunked out the following year. He was then enrolled in Valley Forge Military Academy in Pennsylvania in 1934. He was very active in many clubs while a student, but again his grades were not fantastic. He gra
duated in June of 1936, but not before writing a poem about the school that was eventually set to music and is rumoured to still be sung there. He attended summer session at NYU in 1937 and briefly attended Ursinus College from 1937-1938. In 1939 he enr
olled in Whit Burnett's short story class at Columbia. This was an intelligent move, as Burnett published one of Salinger's stories "The Young Folks" in his magazine Story in 1940. Salinger was 21 years old. His first book, Catcher in the Rye was pub
lished in 1951, at 32 years old. Salinger published over 35 short stories throughout his lifetime, in such magazines as The New Yorker and The Saturday Evening Post, but only one book. Franny and Zooey, Nine Stories, Raise High the Roofbeam Carpenters a
nd Seymour, an introduction were all published as books later, but each of these had their start as short stories. His editor was his close friend William Shawn. Due to the attention he received from Catcher in the Rye, Salinger moved to the tiny town o
f Cornish, New Hampshire in 1954. He met his future wife there, Claire Douglas. They married on February 17, 1955 and it is said that "Franny" was originally intended as a wedding present for his wife. They had two children, Margaret Ann born December
10, 1955, and Matthew born February 13, 1960 before their divorce in 1966. After granting an interview to a high school student that was made into an editorial article, Salinger cut off access to himself almost completely, breaking his silence only once
for a phone interview. His papers are not available, but there is a book forthcoming consisting of letters written to Salinger. Its expected publication date is very soon. I was unable to locate an address for Salinger, but I am assuming that he is ali
ve and still in Cornish until I receive evidence to the contrary.

1 Paste contemporary reception history in here (maximum 500 words)

The early reviews for Franny and Zooey appeared for the most part in 1961 and 1962. The reviews do focus on different aspects of Salinger's work, but for the most part each reviewer stresses the surperiority of the Franny section over the Zooey section and spends at least a small part of the review analyzing Salinger's audience. The reader's of his work are seen to be intellingent, withdrawn and young. The type of person that most of the reviewers saw enjoying Franny and Zooey is a person who perceives themselves to be gifted intellectually and sensitive to the falsity of the world around them. The two main characters are often given as examples of Salinger's type of reader, and the writer's "self-conscious charm and prankishness" are the aspects of this work that would draw this type of person in. The reviewers, in addition to analyzing the characters and audience also comment on the two sections of the novel separately. Most conclude that Zooey is far too long and unweildy, and that Franny appears to be more of a finished story than a part of a larger work. In fact, in his review in the New York Times Book Review, John Updike says that the character of Franny is completely different in the two sections of the novel. Updike does not appear to like the book too much, he says that "a sense of composition if not among Salinger's strengths," but he also acknowledges the risks that Salinger takes in composing a novel that consists largely of people talking. The Glass family's obsession with conversation is mentioned by other reviewers as well. In the New Republic from September 18, 1961 Anne Marple notes that this obsession with dialogue might come from Salinger's history as a playwright. The relationship between Salinger and the Glass family is also much discussed in the reviews. Salinger has written much about this family, and many of the reviews commented upon his extreme closeness with the characters. Most of the reviewers saw this as a drawback, causing the writer to include unimportant details and dialogue that are of interest only to himself. As Marple comments later on in her review, Salinger is "so enmeshed in his material that his judgement is clouded." Another commonality of the reviews is that they all focus on the detail oriented nature of Salinger's work. Alfred Kazin says in the August 1961 Atlantic that the writer has "a compulsive need to fill in each inch of his canvas, each moment of his scene." Many reviews noted that in his works Salinger included the most minute motions of his characters, even down to which hand in holding the ashtray and which is holding the telephone receiver. This focus on ordinary detail is largely seen as a strength, which somewhat runs counter to the statements that Salinger's obesssions with the Glasses are overdone and too wordy. Salinger's ablility to create beautifully scripted scenes and individualized characters are also good points with the reviewers. The reviews for Franny and Zooey are mixed, but not so much from reviewer to reviewer, but rather within each review. Most call Zooey a failure of some sort, but also point out the brilliance of certain sections of the work. While they could not be called resoundingly positive, for the most part the reviews are not negative either. Most of the reviews that I read would compell me to read the novel. For a complete list of all reviews, please see the supplementary materials section.

2 Paste subsequent reception history in here (maximum 500 words)

Salinger's work has been the subject of much academic literary analysis, with special attention paid to Catcher in the Rye. Franny and Zooey has also been examined, and both the novel and the sections individually have had different receptions in later years. While Franny was lauded in the earlier years, over time the general consensus has been that alone, Franny is too small or weak of a story. Though Zooey has continued to be decried as too long or unweildy, this shift in the view of Franny is somewhat surprising. In addition, the characters' inner lives and religious crises have received a greater focus in later years. In his essay on Franny and Zooey, Walter French says that Franny's "relative innocence" is an important vessel for showing the "difficulties of living a spiritual life in an egotistic society." Many other later reviews have also stressed the importance of Franny's fragility and her spiritual crisis, an aspect of the novel that was given only cursory discussion before in light of all of the analysis of Salinger's style. George Panichas says that the religion that Salinger explores in his works is not so much of a "theological" faith, but rather a life journey. Franny and her breakdown are seen as emblematic of the spiritual crises that people as a whole face. The book that she keeps close to her, The Way of the Pilgrim, is a book from Russian Orthodoxy, but the Zen aspects of Franny and Zooey have been thoroughly discussed. Bernice and Sanford Goldstein have even gone so far as to call their older brother Seymour the dead "Zen master" that the two younger people follow. When Zooey impersonates Seymour on the phone this is the internalization of the instruction that he received throughout his life. There is a chain in the story for religious instruction, as has been pointed out by Som Ranchan. He says that as Seymour kept a close watch over Buddy (the narrator) in his spiritual development, Zooey acts as a watchdog for Franny. Ranchan also says that the characters' mother, Bessie, is the embodiment of the Shakta aspect of Buddhism, as Seymour is the Zen aspect. Many later reviewers have used the religious aspects of Salinger's work to show a link between this novel and the other Glass stories, notably "A Perfect Day for Bananafish" and "Down at the Dinghy." The idea of looking at the Glass stories as smaller pieces of a larger, probably epic, novel is a popular idea among later critics. This focus on eastern religion is not always seen as a positive. John Wenke blames Seymour and Buddy's constant instruction for Franny and Zooey neuroticism. Others point out that this focus on religions from the east dates Salinger as a man of his times. The period in which he was writing has long been noted as one of obsession with eastern religion, so instead of viewing Salinger as an innovator, he is seen more of as a victim of his times. Overall, the later reviws of this book are not nearly so focused on the negative aspects of Zooey, but rather the cohesiveness of this story as part of a larger epic of the Glass family.

1 Paste your critical analysis in here (maximum 2500 words)

That J.D. Salinger's Franny and Zooey was a bestseller in 1962 is almost surprising, given what reviewers said about his expected audience. At the time of its publication there was much speculation about
the group most likely to read Salinger's works, and many critics came to the conclusion that mostly highly sensitie, intellectually gifted individuals would purchase Franny and Zooey. Yet Franny and Zooey was a best selling novel, which s
urely cannot be due to purchases by this limited population alone. The novel was popular, then, for a variety of other reasons. The book itself has lived on as a significant part of academia, often assigned in high school and college English courses. <
U>Franny and Zooey's literary merit, if the reviews are to be believed, stems in large part from Salinger's attention to detail and dialogue. Of course the impact of the audience on sales cannot be discounted either. Franny and Zooey was firs
t the interest of a the literati, collegiate set, and with the academic focus much of the interest in the novel has returned to this crowd. Finally, Franny and Zooey appealed to a culture that was in a transition period. As it has been well docum
ented, the end of the 1950's and the beginning of the 1960's was a time of significant change in America. Salinger's novel captures many of these metamorphosing aspects of culture, including the new focus on eastern religions and the television media. T
he specifics of these reasons are easily explored by looking not only at reviews for the novel, but by looking at sections of Franny and Zooey itself. Franny and Zooey has had a longevity beyond its initial success in bookstores. The early reviews of Salinger's book were not always glowing, but most of the critics had praise for his focus on detail. While some said that this obsession with the
minutae of the main characters might stem from Salinger's too close relationship with the Glass family, most critics did not see this as a drawback. In fact, many saw his attention to detail as an important part of what brings the reader closer to the pr
otagonists and keeps interest in the story alive. This might in some part account for the popularity of the book. With the humor and sympathy that Salinger invokes through the details Franny and Zooey becomes an immediately engaging read, and one
that a person could easily recommed to a friend.
Throughout Franny and Zooey, Salinger pays especial attention to sunlight and to the hands of his chracters. As one critic noted, Salinger always tells the reader exactly what the characters are doing with each of their hands. He often uses thes
e details to help characterize the mood of an individual. In the Franny section of the novel her hands first become a focus after she has excused herself to the ladies' room during a lunch with her boyfriend. She is nervous and fragile, facts that Sali
nger emphasizes when he says that "she placed her hands, vertically, over her eyes and pressed the heels hard...her extended fingers, though trembling, or because they were trembling, looked oddly graceful and pretty" (22). Later, in the Zooey section, F
ranny has fallen into a deep, and hopefully helpful, sleep following part of the emotional breakdown begun in the earlier section of the novel. As she lay sleeping "her right hand...on the coverlet, was not merely closed by shut tight; the fingers clenc
hed, the thumb tucked in" almost as if "she had checked back into the mute, fisty defenses of the nursery" (123). No matter how complex the characters' moods are, Salinger attempts to give the reader clues as to their emotions with descriptions of their
hands.
Salinger uses sunlight in a similar capacity, as often his descriptions of sunlight appear when the characters are in need of some sort of escape. For Franny, after she has harshly criticized her boyfriend, of which he is acutely aware, she starts "star
ing at the little blotch of sunshine with a special intensity, as if she were considering lying down in it" (15). During a conversation with Zooey, Franny notices that "Zooey was sitting in the main shaft of sunlight in the room" a brief second before c
hanging the subject to something that neither of them really want to discuss(141). Franny is not able to escape, though, and the dialogue progresses.
Another quality that is present throughout the novel is the richness of the dialogue. This too is commented upon by the critics. Some of which have attributed this to Salinger's background as a playwright. The dialogue takes up a significant majority
of the book, and while this wordiness was criticized by some reviewers, others commend Salinger on his courage. Focusing his entire 200 page novel on hours and hours of conversation is rather unconventional, and could have flopped. The type of dialogue
in Franny and Zooeydraws the reader into the novel immediately, in much the same way that a play does. After briefly sketching out his setting in a couple of paragraphs, Salinger then lets the dialogue do all of the work. The characters simply en
ter the scene and perform their roles. Salinger himself was an actor for a brief period in school so it is easy to see how this type of setup is very natural for him. Like a play, it is the fact that the reader is privy to some very intimate conversatio
n that keeps them interested in the scene at hand, and for that matter, anxious for the scenes ahead. This playlike aspect could also account for the relative ease of reading that Franny and Zooey offers.
The dialogue of Franny and Zooey, in addition to drawing the reader in, also establishes the marked individuality of the characters. While all of this talking could appear to be at first exhausting and a bit unrealistic, Salinger is careful to ex
plain himself through Zooey. He says that the reason that the Glass children are so long winded is that "we've got ?Wise Child' complexes. We've never really got off the goddamn air. Not one of us. We don't talk, we hold forth" (140). Franny is a se
nsitive observer of the world around her, and a sharp critic as well. In talking about a professor that particularly annoys her she notes that "he's just a terribly sad old self-satisified phony with wild and wooly white hair. I think he goes into the m
en's room and musses it up before he comes to class..." (127). Her sharp tongue and sharper eye are easily shown in this and other passages. Franny is obviously a woman with deep reactions to the world around her. Zooey is also concerned with the phoni
ness of the world, but his reactions take a more personally critical bent. When talking with his mother he yells at her "just don't, that's all. Don't admire my goddamn back" because she has dared to act maternal (118). Zooey is concerned about his si
ster, and because he feels so helpless he is ixtrememly critical of everyone else.
The audience of Franny and Zooey, in addition to the details and dialogue, was also analyzed by the critics. The main idea is that it is those that perceive themselves to be gifted intellectually that would be most likely to enjoy Salinger's nove
ls. Franny and Zooey as individuals are the type of person who are viewed by critics as Salinger fans. Both are highly sensitive to the falsity of the world around them and intellectually curious enough to search for alternatives. This type of person c
an be found on college campuses across the United States, and while Salinger realizes how important they are to his career, he includes a charicature just to keep his readers on their toes. Lane, Franny's boyfriend, is the typically pompous collegiate in
tellectual. He needs to have the right girl on his arm and he wants her to read his prize paper on Flaubert. He is conceited enough to offhandedly mention that the paper got an "?A' on it in letters about six feet high" and that "this guy Brughman think
s I ought to publish" it (12, 13). Then, to complete the dramatization of Lane's huge ego, Salinger adds that after praising himself Lane "had suddenly become exhausted...by a world greedy for the fruit of his intellect" (14). This kind of jesting and
love-hate relationship with his audience could further account for the novel's initial success and continuing place in an academia that tries not to take itself too seriously.
Salinger already had a bit of a cult following with this audience by the time that Franny and Zooey came out. His novel, The Catcher in the Rye, which is still a staple of every angst-filled undergraduate's bookshelf, had been published a
few years prior to Franny and Zooey. The base readership that Salinger built with Catcher in the Rye could only be expanded with the publication in book form of two of his most popular stories. Salinger's persona is also a part of this cultish f
eel. He had, by the publication of Franny and Zooey, already secluded himself completely at his home in the small town of Cornish, New Hampshire. He had stopped giving interviews and cut off all contact. Salinger's famous reclusivity continues t
o this day. Just recently Rolling Stone magazine published a story about a journalist's pilgrimage to Cornish in hopes of seeing or speaking to Salinger. So, for the Salinger fan of the early 1960's it was only the further publication of his books that
permitted any sort of contact with the author. Without interviews and public appearances with which to satisfy themselves, those truly devoted to Salinger simply had to buy his books. Others that knew about his famously reclusive nature might also have
picked up Franny and Zooey out of curiosity, if nothing more than to see what this crazy man was capable of.
Another smaller audience that Salinger makes a direct appeal to is that of New Yorkers. The Glass family is firmly ensconced in New York, a fact that Salinger makes clear throughout his novel, and it is apparent that they love their city. Zooey, when t
alking about making a film in France says that "I'd hate like hell to leave New York...I was born here. I went to school here. I've been run over here--twice...I have no business acting in Europe" (137). With this kind of loyalty expressed, the New Yor
k literati could not have helped but to be flattered. His association with the New Yorker magazine prior to the publication of Franny and Zooey could only have furthered his close association with the New York literary scene.
Yet Franny and Zooey did not appeal to the New Yorkers alone, but rather the whole of the United States. During the late 1950's and early 1960's the United States experienced a dramatic shift away from conservatism into a more liberal culture. W
hile Franny and Zooey was not compared by critics to other author's works, other books popular at this time also show the cultural shift. Helen Gurley Brown's Sex and the Single Girl was a wildly liberal book for its time. It had a place
on the Nonfiction bestseller list of 1962, alongside the New English Bible. The Agony and the Ecstasy's fictionlization of the life of Michaelangelo is a throwback to an earlier era when books like the Robe were popular, and yet it appear
ed on the same list as the more modern Franny and Zooey. Both Franny and Zooey express a dissatisfaction with the status quo similar to that of their contemporaries in the real world. Franny is not happy with the pseudo-intellectual collegiate li
fe, and Zooey is not satisfied with his job.
Zooey also embodies another aspect of the time period with his profession. He is an actor, but as the narrator points out his job is not with the movies or Broadway, but as a "?sought-after'...young leading man in television" (52). Though at this time
television had been around for a while, it was still a relatively new cultural phenomenon. The 50's image of the family seated around the television set for an evening of fun was current, and Zooey's job makes him a part of that lifestyle. This relatio
nship to the cutting edge cultural changes could only add to the popularity of the novel, as people of the time would easily relate.
This time period in the United States also saw an increasing interest in cultures abroad, especially those of Africa and Asia. The religions of Asia make several appearances throughout Franny and Zooey, as when Zooey talks about his Franny's tur
n to Buddhism at the age of ten. He also instructs her, according to some later academic writing about the novel, in much the same way that a Zen master would his pupil. Later, when Zooey returns to his older brothers' room, he reads some of their quote
s, one of which is from the Bhagavad Gita, a sacred Hindu text. Many later critics have seen this focus on eastern religion as a drawback of the novel because it is so very emblematic of this era that people reading the book in other times have difficult
y relating.
The cultural aspects of Franny and Zooey, along with the audience and the details of the book itself, all account for the book's success. While Salinger so brutally caricatured the collegiate intellectual in this book, it is most likely this grou
p that spawned the early sales of the book, and it is this group with whom the novel lives on. The Glass family in this novel and in other Salinger stories has seen much analysis from English departments at colleges across America, and will most likely s
ee more in the future. The book was a bestseller for a year, though, and so other aspects of the book must be analyzed. Both sections of the novel were published as short stories in the New Yorker, a kind of pre-publicity for the book's later publicatio
n. In addition, there are aspects of the changing culture in which the book was published that are reflected in the story. The religious discussion in Franny and Zooey is quite elaborate and far-reaching, yet another facet of the book that might
have added to its popularity. Finally, the beautiful language and characterizations in the novel cannot be ignored. While not every book on the best seller list is of the greatest literary merit, Franny and Zooey is most assuredly an intelligent
and readable masterwork.

Reviews of Franny and Zooey: "JD Salinger, Everybody's Favorite." Atlantic. August 1961. "Salinger and His Critics." Commonwealth. October 25, 1963. Catholic World. February 1962. Guardian. June 8, 1962. New Statesman. June 8, 1962. Spectator. June 8, 1962. Times (London) Literary Supplement. June 8, 1962. Canadian Forum. November 1961. Booklist. September 15, 1961. Chicago Sunday Tribune (by Paul Engle). September 24, 1961. Christian Science Monitor. September 14, 1961. New Republic. September 18, 1961. New York Herald Tribune Books. September 17, 1961. New York Times Book Review (by John Updike). September 17, 1961. Time. September 15, 1961. Saturday Review. September 16, 1961. Christian Century. December 6, 1961. Kirkus. June 15, 1961. Library Journal. October 1, 1961. San Fransicso Chronicle. September 5, 1961. Wisconsin Library Bulletain. September 1961. Yale Review. December 1961. Extension. January 9, 1961. Punch (London). #6 1961. Hudson Review. Winter 1961-1962. Tablet. #6 1961. Books Abroad. Winter 1961. Partisian Review. Winter 1961. Tamarak Review. Autumn 1961. The New Leader. #1 1961. Mainstream. Januray 1961. English Journal. May 1961. The Listener. #6 1961. Modern Age. Spring 1961. Time & Tide. #6 1961. Virginia Quarterly Review. Winter 1961. Times London Weekly Review. #6 1961. Holiday. November 1962. America. #9 1962. Harper's. October 1962. Library Journal. #10 1962. Cosmopolitan. September 1962. Newsweek. #9 1962. A complete bibliography is available: Sublette, Jack. JD Salinger: An Annotated Bibliography. 1984.