William Saroyan Short Stories

[Melany Odeh]

Saroyanwrote extensively about the Armenian immigrant life in California. Many of his stories and plays are set in his native Fresno.[3] Some of his best-known works are The Time of Your Life, My Name Is Aram and My Heart's in the Highlands. His two collections of short stories from the 1930s, Inhale Exhale (1936) and The Daring Young Man on the Flying Trapeze (1941) are regarded as among his major achievements and essential documents of the cultural history of the period on the American West Coast.

William Saroyan was born on August 31, 1908, in Fresno, California, to Armenak and Takuhi Saroyan, Armenian immigrants from Bitlis, Ottoman Empire. His father came to New York in 1905 and started preaching in Armenian Apostolic churches.[7]

At the age of three, after his father's death, Saroyani jahnvi, along with his brother and sister, was placed in an orphanage in Oakland, California.[8] He later went on to describe his experience in the orphanage in his writings.[9] Five years later, the family reunited in Fresno, where his mother, Takuhi, had already secured work at a cannery.[10] He continued his education on his own, supporting himself with jobs, such as working as an office manager for the San Francisco Telegraph Company.[11]

Saroyan decided to become a writer after his mother showed him some of his father's writings. A few of his early short articles were published in Overland Monthly. His first stories appeared at the end of the 1920s. Among these was "The Broken Wheel", written under the name Sirak Goryan and published in the Armenian journal Hairenik in 1933. Many of Saroyan's stories were based on his childhood experiences among the Armenian-American fruit growers of the San Joaquin Valley or dealt with the rootlessness of the immigrant. The short story collection My Name is Aram (1940), an international bestseller, was about a young boy and the colorful characters of his immigrant family. It has been translated into many languages.

Through the air on the flying trapeze, his mind hummed. Amusing it was, astoundingly funny. A trapeze to God, or to nothing, a flying trapeze to some sort of eternity; he prayed objectively for strength to make the flight with grace.

The story was republished in the 1941 short story collection that took its title. The royalties from this enabled Saroyan to travel to Europe and Armenia, where he learned to love the taste of Russian cigarettes, once observing, "You may tend to get cancer from the thing that makes you want to smoke so much, not from the smoking itself" (from Not Dying, 1963). His advice to a young writer was: "Try to learn to breathe deeply; really to taste food when you eat, and when you sleep really to sleep. Try as much as possible to be wholly alive with all your might, and when you laugh, laugh like hell." Saroyan endeavored to create a prose style full of zest for life and seemingly impressionistic, that came to be called "Saroyanesque".

Saroyan's stories of the period characteristically devote an unvarnished attention to the trials and tribulation, social malaise and despair of the Depression. He worked rapidly, hardly editing his text, and drinking and gambling away much of his earnings.

I am an estranged man, said the liar: estranged from myself, from my family, my fellow man, my country, my world, my time, and my culture. I am not estranged from God, although I am a disbeliever in everything about God excepting God indefinable, inside all and careless of all.

Saroyan published essays and memoirs, in which he depicted the people he had met on travels in the Soviet Union and Europe, such as the playwright George Bernard Shaw, the Finnish composer Jean Sibelius, and Charlie Chaplin. In 1952, Saroyan published The Bicycle Rider in Beverly Hills, the first of several volumes of memoirs. Several other works were drawn from his own experiences, although his approach to autobiographical fact contained a fair bit of poetic license. Drawn from such deeply personal sources, Saroyan's plays often disregarded the convention that conflict is essential to drama. My Heart's in the Highlands (1939), his first play, a comedy about a young boy and his Armenian family, was produced at the Guild Theatre in New York. He is probably best remembered for his play The Time of Your Life (1939), set in a waterfront saloon in San Francisco. It won a Pulitzer Prize, which Saroyan refused on the grounds that commerce should not judge the arts; he did accept the New York Drama Critics' Circle award. The play was adapted into a 1948 film starring James Cagney.

Before the war, Saroyan had worked on the screenplay of Golden Boy (1939), based on Clifford Odets's play, but he never had much success in Hollywood. A second screenplay, The Human Comedy (1943) is set in the fictional California town of Ithaca in the San Joaquin Valley (based on Saroyan's memories of Fresno, California), where young telegraph messenger Homer bears witness to the sorrows and joys of life during World War II.

"Mrs. Sandoval," Homer said swiftly, "your son is dead. Maybe it's a mistake. Maybe it wasn't your son. Maybe it was somebody else. The telegram says it was Juan Domingo. But maybe the telegram is wrong ...

Having hired Saroyan to write the MGM screenplay, Louis B. Mayer balked at its length, but Saroyan would not compromise and was removed from directing the project. He then turned the script into a novel, publishing it just prior to the release of the film, for which he won the 1943 Academy Award for Best Story. The novel is often credited as the source for the movie, when in fact the reverse is true. The novel was itself the basis for a 1983 musical of the same name. After his disappointment with the Human Comedy film project, he never permitted Hollywood screen adaptations of any of his novels, despite his often dire financial straits.

Saroyan served in the U.S. Army during World War II and was stationed in Astoria, Queens, spending much of his time at the Lombardy Hotel in Manhattan, far from Army personnel. In 1942, he was posted to London as part of a Signal Corps film unit.[12] He narrowly avoided a court martial when his novel, The Adventures of Wesley Jackson, was seen as advocating pacifism. Interest in Saroyan's novels declined after the war, when he was criticized for sentimentality. Freedom, brotherly love, and universal benevolence were for him basic values, but critics considered his idealism as out of step with the times which, in their view, were properly described as devoted to division, ethnic and ideological hatred, and universal predation. He still wrote prolifically, so that one of his readers could ask "How could you write so much good stuff and still write such bad stuff?" In the novellas The Assyrian and other stories (1950) and in The Laughing Matter (1953), Saroyan mixed allegorical elements within a realistic novel. The plays Sam Ego's House (1949) and The Slaughter of the Innocents (1958) were not as successful as his prewar plays. Many of Saroyan's later plays, such as The Paris Comedy (1960), The London Comedy (1960), and Settled Out of Court (1960), premiered in Europe. Manuscripts of a number of unperformed plays are now at Stanford University with his other papers.

One of Saroyan's most financially successful ventures was perhaps his most unlikely: the song "Come On-a My House," which became a huge hit in 1951 for singer Rosemary Clooney.[13] Saroyan wrote the song in 1939 with his cousin Ross Bagdasarian (who later became famous as "David Seville," the impresario behind Alvin and the Chipmunks), adapting the music from an Armenian folk song.[14]

Saroyan died in Fresno, of prostate cancer at the age of 72. Half of his ashes were buried in California, and the remainder in Armenia at the Komitas Pantheon near fellow artists such as composer Aram Khachaturian, painter Martiros Saryan, and film director Sergei Parajanov.[26]

On August 31, 2018, the William Saroyan House Museum was opened in the house where Saroyan lived for the last 17 years of his life,[30] in the city of Fresno, the USA.[31][32] The house presents photographs from different periods of his life, drawings, and covers of his books. The museum has a separate room which features a hologram of the writer.[33]

In October 1988, a small alley in San Francisco across from City Lights Bookstore named Adler Place, was renamed William Saroyan Place in Saroyan's honor.[38] Championed by City Lights owner Lawrence Ferlinghetti, the naming (along with the renaming of its twin alley across the street to "Jack Kerouac Alley") was commemorated with a gala.

In 1943, William Saroyan received the Academy Award for his screenplay for The Human Comedy,[42] a screenplay he adapted into a novel that was published just prior to the release of the film.

The 2013 Parajanov-Vartanov Institute Award posthumously honored Saroyan for the play The Time of Your Life and the novel Human Comedy. It was presented to his granddaughter by Academy Award-winning Hollywood actor Jon Voight.[43][44][45]

Saroyan is well known as a prolific writer, boasting that he wrote his twenty-six stories for the Daring Young Man on the Flying Trapeze and Other Stories in as many days. He was 26 when that collection was published, and he rarely slowed his output for the next fifty years. While much of his writing remains unpublished, below is a bibliography of his plays and books followed by the most complete list available of his published short stories. Pulling from magazines, anthologies, and his books of short stories, the archives developed a list that contains nearly 600 unique entries. Included are the publication titles and dates, giving you insight into which were his most popular short stories and which ones saw very limited release.

The only readers who are readers, the only readers who mean anything to a work of writing, and therefore possible a little something to the writer of the work himself, are the readers who read the way writers write: consciously, aware of themselves, aware of the work being read, aware of writing itself, and therefore able to get the writing, to know it, to understand what it's all about, what's going on. There are many kinds of writers and many kinds of readers, but the writers who are really writers and the readers who are really readers probably have one thing in common: being on the level without being pompous about it. And it's easy to get off the level, and it's easy to get pompous about just about anything.

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