IN: Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini.

He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle. Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems. Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development. In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world." Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."

How long did he keep this position?

OUT:

input: An early collection of his poems appeared as The Tinder Spark (Saqt al-zand; sqT lznd). The collection of poems included praise of notable people of Aleppo and the Hamdanid ruler Sa'd al-Dawla. It gained great popularity and established his reputation as a poet. A few poems in the collection were about armour. A second, more original collection appeared under the title Unnecessary Necessity (Luzum ma lam yalzam lzwm m l ylzm 'w llzwmyt), also simply Luzumiyat or Necessities. The title refers to how al-Ma'arri saw the business of living and alludes to the unnecessary complexity of the rhyme scheme used. His third famous work is a work of prose known as The Epistle of Forgiveness (Resalat Al-Ghufran rsl@ lGfrn). The work was written as a direct response to the Arabic poet Ibn al-Qarih, whom al-Ma'arri mocks for his religious views. In this work, the poet visits paradise and meets the Arab poets of the pagan period, contrary to Muslim doctrine which holds that only those who believe in God can find salvation. Because of the aspect of conversing with the deceased in paradise, the Resalat Al-Ghufran has been compared to the Divine Comedy of Dante which came hundreds of years after. The work has also been noted to be similar to Ibn Shuhayd's Risala al-tawabi' wa al-zawabi, though there is no evidence that al-Ma'arri was inspired by Ibn Shahayd nor is there any evidence that Dante was inspired by al-Ma'arri. Algeria reportedly banned The Epistle of Forgiveness from the International Book Fair held in Algiers in 2007. Paragraphs and Periods (Al-Fusul wa al-ghayat) is a collection of homilies. The work has also been called a parody of the Quran.

Answer this question "Did any of his work get recognized"
output:
Algeria reportedly banned The Epistle of Forgiveness from the International Book Fair held in Algiers in 2007.