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. Career As a writer, Saroyan made his breakthrough in Story magazine with "The Daring Young Man on the Flying Trapeze" (1934), the title taken from the nineteenth-century song of the same title. The protagonist — a young, starving writer who tries to survive in a Depression-ridden society — resembles the penniless writer in Knut Hamsun's 1890 novel Hunger, but lacks the anger and nihilism of Hamsun's narrator. The story was republished in a collection whose royalties 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. 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