Slouching Towards Bethlehem
by Joan Didion · 1 Jan 1968 · 184pp · 62,220 words
Joan Didion Slouching Towards Bethlehem 1968 For Quintana Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the center cannot
The Gang That Wouldn't Write Straight: Wolfe, Thompson, Didion, Capote, and the New Journalism Revolution
by Marc Weingarten · 12 Dec 2006 · 363pp · 123,076 words
egregious example). Within a seven-year period, a group of writers emerged, seemingly out of nowhere—Tom Wolfe, Jimmy Breslin, Gay Talese, Hunter S. Thompson, Joan Didion, John Sack, Michael Herr—to impose some order on all of this American mayhem, each in his or her own distinctive manner (a few old
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” is a slippery phrase. When Tom Wolfe made it the title of a 1973 anthology featuring pieces from such writers as Gay Talese, Hunter Thompson, Joan Didion, Norman Mailer, and others, he meant it to be a declaration of independence from any journalism that had preceded it. But there were others—particularly
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was as enamored of the tectonic shifts occurring in California, and one in particular would always maintain a detached skepticism that bordered on existential dread. Joan Didion, unlike Wolfe, was a child of the West. She was born in 1934, but her ancestors had migrated to California in the nineteenth century from
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was Didion as a major talent that Dan Wakefield felt compelled to preface his New York Times review of the book with the qualifier that “Joan Didion is one of the least celebrated and most talented writers of my own generation.” Wakefield continued: “Now that Truman Capote has pronounced that such work
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lively and essential forum for arts and political coverage, with contributions from such writers as David Halberstam, Elizabeth Hardwick, Neil Sheehan, Alfred Kazin, Gay Talese, Joan Didion, Irwin Shaw, Bernard Malamud, and Philip Roth. Mailer knew he would be in good company, and Decter was thrilled that Mailer had thought of the
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continued to traverse the globe for stories about the Chinese Mafia, the Holocaust, and the My Lai massacre until his death from cancer in 2004. Joan Didion remains a giant of journalism and continues to produce stunning work. Norman Mailer also retreated from print journalism but didn’t give up the practice
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Thompson, “The Evolution of Dandy Tom,”Vanity Fair, October 1987 5. THE CENTER CANNOT HOLD Biographical background on Joan Didion is taken from Joan Didion, Where I Was From (New York: Random House, 2003) and Michiko Kakutani, “Joan Didion: Staking Out California,”New York Times, June 10, 1979. “I wrote stories from the time I was
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a little girl”: Linda Kuehl, “The Art of Fiction No. 71: Joan Didion,”Paris Review, Fall-Winter 1978. “Nothing was irrevocable … the shining and
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perishable dream itself”: Joan Didion, “Goodbye to All That,”Slouching Towards Bethlehem (New York: Farrar, Straus and Giroux, 1990), 229-30. “the way
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the rivers crested”: Didion, Where I Was From, 157. “paralyzed by the conviction that the world”: Kakutani, “Joan Didion: Staking Out California.” “Most of my sentences drift off, don’t end”: Kuehl, “The Art of Fiction.” “So they had come … to see Arthwell
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”: Joan Didion, “How Can I Tell Them There’s Nothing Left?”Saturday Evening Post, May 7, 1966. “adolescents drifted from city to torn city”: Didion, “Slouching Towards
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I would go into [Allene Talmey]’s office”: Kuehl, “The Art of Fiction.” “Hathaway removed the cigar from his mouth”: Joan Didion, “John Wayne: A Love Song,”Slouching Towards Bethlehem, 34-35. “Joan Didion is one of the least celebrated and most talented writers”: Dan Wakefield, “Places, People and Personalities,”New York Times Book
Having and Being Had
by Eula Biss · 15 Jan 2020 · 199pp · 61,648 words
Piano Art Work Anything Passing Membership Art Poor Rich Work Leisure The Protestant Ethic Work Capitalism Liberation Collection Work Drag The Witch Mother’s Helper Joan Didion Tea Mine Work Art Mastered Work Service Satisfaction Toil Work Play Art The Game Investment Work Bartleby Investment Welcome to the Jungle Maintenance Sin Stocks
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the bed—a creased book, a wine cork, the bathtub from Monopoly. These are laid out on the table like a museum exhibit. JOAN DIDION I think I see Joan Didion, improbably, behind the wheel of a minivan. She passes me on my bicycle and I catch a glimpse of her from behind. This
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decadence. The tree stands behind me, leaning. As I dig, a single phrase repeats in my head: “Canted vertiginously over the tailrace.” It’s from Joan Didion’s essay about Hoover Dam, where a man from the Bureau of Reclamation takes her deep into the machinery of the dam to see a
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many years, since I was in college. And then Virginia Woolf showed up, another writer from college. And Gertrude Stein and Alice B. Toklas. And Joan Didion. But Pablo Neruda didn’t show up, or Federico García Lorca or Martín Espada or Jack Agüeros, among other writers I had studied. James Joyce
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Servants, Alison Light. Bloomsbury, 2008. End Slavery Now, www.endslaverynow.org. JOAN DIDION “The Autumn of Joan Didion,” Caitlin Flanagan. The Atlantic, January/February 2012. “The White Album,” Joan Didion. The White Album. Farrar, Straus and Giroux, 1990. First published 1979. “Slouching Towards Bethlehem,” Joan Didion. Slouching Towards Bethlehem. Farrar, Straus and Giroux, 1990. First published 1961. “Out
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of Bethlehem: The Radicalization of Joan Didion,” Louis Menand. The New Yorker, August 17, 2015. Menand notes
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got high; and then they went back to school or back to work. It was a life style, not a life.” “New York: Sentimental Journeys,” Joan Didion. New York Review of Books, January 17, 1991. TEA Lauren Kalman: But if the Crime Is Beautiful . . . , Lauren Kalman. Museum of Arts and Design, New
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Appelbaum. New York Times, August 24, 2019. THE HOLE The Unquiet Grave: A Word Cycle, Cyril Connolly (Palinurus, pseudonym). Hamish Hamilton, 1946. “At the Dam,” Joan Didion. The White Album. Farrar, Straus and Giroux, 1990. First published 1979. NOTES A Woman of Property, Robyn Schiff. Penguin Books, 2016. The Affluent Society, John
Dark, Salt, Clear: Life in a Cornish Fishing Town
by Lamorna Ash · 1 Apr 2020 · 319pp · 108,797 words
they were on holiday last Christmas, another earthquake ripped through their foundations, dismantling the life they had built together. At one point in Californian essayist Joan Didion’s The Year of Magical Thinking – the devastating meditation on the grief she experienced after the death of her first husband John and then her
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young woman. She often contemplated the episcopal litany, ‘as it was in the beginning, is now and ever shall be, world without end’. The young Joan Didion interpreted the phrase as ‘a literal description of the constant changing of the earth, the unending erosion of the shore and mountains, the inexorable shifting
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either. ‘It was as if the whole bay had the life knocked out of it,’ David Barron remembers. There are several fragments of poetry that Joan Didion returned to after the deaths of her husband and daughter. One of these was from Gerard Manley Hopkins’s ‘Heaven-Haven’: And I have asked
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. ‘Your father’s died at sea.’ Mike sped back home, pedalling his bike all the way up Paul Hill. In The Year of Magical Thinking, Joan Didion describes a sensation she calls ‘the vortex effect’, whereby any chance mundane event might trigger particular memories of her lost loved ones. These vortices from
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salt water, groomed through by the waves. Devastation that springs out of the quotidian cannot be rationalised. ‘Even the report of the 9/11 commission,’ Joan Didion writes, ‘opened on this insistently premonitory and yet still dumbstruck narrative note: “Tuesday, September 11, 2001, dawned temperate and nearly cloudless in the eastern United
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of the works referenced in this bibliography were read contiguously with the writing of Dark, Salt, Clear. Many of the authors listed here – such as Joan Didion, John Steinbeck, Elizabeth Bishop, Barry Lopez and Virginia Woolf – have helped me understand how it might be possible to bridge life, observation and imaginative thought
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’, in Walter Benjamin: Selected Writings, 4: 1938–1940, eds H. Eiland, M. W. Jennings (Cambridge, MA: Belknap Press of Harvard University Press, 1942, 2006). For Joan Didion, see The Year of Magical Thinking (New York: Harper Perennial, 2005, 2006). This is a book which, in the past, I have given to friends
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and Prose, ed. W. H. Gardner, (London: Penguin Classics, 2008). RAYMUNDO For Sebald, see The Rings of Saturn. For Lopez, see Arctic Dreams. VORTEX For Joan Didion, see The Year of Magical Thinking. For Philip Pullman, see The Northern Lights, (New York: Scholastic, 1995, 2017). Pullman’s His Dark Materials series continues
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, Designs and Patents Act, 1988, to be identified as Author of this work Text from A Year of Magical Thinking by Joan Didion reprinted by permission of HarperCollins Publishers Ltd © 2005, Joan Didion Text from ‘The Collected Stories of Dylan Thomas’ by Dylan Thomas © 1954, Dylan Thomas. Reprinted by permission of New Directions Publishing
Track Changes
by Matthew G. Kirschenbaum · 1 May 2016 · 519pp · 142,646 words
: “The word processor is, for me, nothing but a typewriter, only you don’t have to use Typex to erase or correct a mistake.”41 Joan Didion, commenting on the IBM Thinkpad she was using at the time of a 1996 interview, likewise stated, “I just use it like a typewriter.” But
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’s interlocutor as he works through his relationship to what would now strike him as eleven “mostly Autumnal and impossibly innocent” pieces of fiction.1 Joan Didion begins The Year of Magical Thinking (2006) by recounting the properties of the Microsoft Word file containing the first words she wrote after her husband
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. 148,” interviewed by Shusha Guppy, Paris Review, Fall 1996, http://www.theparisreview.org/interviews/1366/the-art-of-fiction-no-148-amos-oz. 42. Joan Didion, “The Salon Interview: Joan Didion,” interviewed by Dave Eggers, Salon, October 28, 1996, http://www.salon.com/1996/10/28/interview_11/. 43. Maria Nadotti, “An Interview with
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), 4–5. In two of the stories, “Click” (1997) and “The Rest of Your Life” (2000), the characters’ personal computers figure as plot devices. 2. Joan Didion, The Year of Magical Thinking (New York: Vintage, 2006), 3. 3. See Gary Snyder, “Why I Take Good Care of My Macintosh,” IT Times 6
The Profiteers
by Sally Denton · 556pp · 141,069 words
, and to reward most fully those who perceived most quickly that the richest claim of all lay not in the minefields, but in Washington,” wrote Joan Didion of the money and power in her native land. Dad Bechtel personified the caricatured mogul of the new western industrialism that blossomed during the Great
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on federal money, so seemingly at odds with the emphasis on unfettered individualism that constitutes the local core belief, was a pattern set early on. —JOAN DIDION, Where I Was From CHAPTER ONE Go West! A “tall, beefy man with a bull-like roar,” Warren Augustine Bechtel, whose legacy would be one
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, had been a member his entire adult life, following the patrilineal formation of the Grove. A “virtual personification of Eisenhower’s military-industrial complex,” author Joan Didion once pronounced Mandalay’s roster of members and guests. “Here, shielded from intrusion by a chain-link fence and the forces of the California Highway
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of How His Sons and Their Associates Have Carried Forward His Principles in Their Many Activities (San Francisco: privately printed, 1949), xii. “The California settlement”: Joan Didion, Where I Was From (New York: Alfred A. Knopf, 2003), 24. “Western builders will build”: Pacific Builder, quoted in Peter Wiley and Robert Gottlieb, Empires
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stories have been published over several decades about Bohemian Gove, as well as several sociological studies, including works by William G. Domhoff, Peter Martin Phillips, Joan Didion, and John van der Zee. The CIA’s attempt to oust Chilean President Salvador Allende has been widely reported, contemporaneously by investigative columnist Jack Anderson
On Writing Well (30th Anniversary Edition)
by William Zinsser · 1 Jan 1976 · 309pp · 95,644 words
and the man from Mars and the button-nosed boy. Try to give your lead a freshness of perception or detail. Consider this lead, by Joan Didion, on a piece called “7000 Romaine, Los Angeles 38”: Seven Thousand Romaine Street is in that part of Los Angeles familiar to admirers of Raymond
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we surely regarded as literary giants. We said those writers didn’t happen to be our models, and we mentioned people like Lewis Thomas and Joan Didion and Gary Wills. He had never heard of them. One of the women mentioned Tom Wolfe’s The Right Stuff, and he hadn’t heard
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examples from various writers, widely different in temperament but alike in the power of the details they choose. The first is from an article by Joan Didion called “Some Dreamers of the Golden Dream.” It’s about a lurid crime that occurred in the San Bernardino Valley of California, and in this
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of Gulf & Western Corporation. 55–57 The Lunacy Boom, by William Zinsser. Harper & Row, 1970. 59–60 Slouching Toward Bethlehem, by Joan Didion. Farrar, Straus & Giroux, 1968. Copyright 1966 by Joan Didion. Reprinted by permission of the publisher. 61–62 The Dead Sea Scrolls, 1947–1969, by Edmund Wilson. Renewal copyright 1983 by Helen
To Show and to Tell: The Craft of Literary Nonfiction
by Phillip Lopate · 12 Feb 2013 · 207pp · 64,598 words
on a room of one’s own, Loren Eiseley on brown wasps, Edmund Wilson on the development of socialist thought, Charles Lamb on married couples, Joan Didion on migraines, William Gass on the color blue. . . . None of these examples read like short stories or screenplays; they read like what they are: glorious
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a character as vibrant as his/her nonfiction narrator, be it Mary McCarthy, George Orwell, James Baldwin, Gore Vidal, Norman Mailer (“Aquarius”), Susan Sontag, or Joan Didion. So nonfiction has nothing to apologize for. It can hold its head up high. * * * * Elias Canetti, I suppose, though some would argue he got it
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poet Mayakovsky says) “At the Top of My Voice,” we can be as passionate and partisan as Hazlitt or Baldwin, or even whine, the way Joan Didion sometimes does, with self-aware humor. We can try to adopt the sane, thoughtful, responsible manner of George Orwell or E. B. White. From all
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’s descendants include some of the most important essayists we have, such as George Orwell, Max Beerbohm, H. L. Mencken, Mary McCarthy, James Baldwin, and Joan Didion. Each set out to create a highly singular persona who would be able to give momentum to the flow of thoughts by means of a
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try to weasel out of it by appealing to authorial license. On the other hand, it is sometimes asserted, even by authorities as eminent as Joan Didion and Janet Malcolm, that writers are inherently betrayers, who will backstab everyone around them for a good line: if you go to bed with dogs
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jumps from the personal to the impersonal, the trivial to the lofty. By employing this mosaic technique, Shields operates in an essayistic line that includes Joan Didion and Richard Rodriguez, and that can be traced back to Walter Benjamin’s seminal “One-way Street” and “A Berlin Childhood” suites, collaged recollections with
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One Guy Davenport: The Geography of the Imagination, The Hunter Gracchus Gore Vidal: United States: Essays 1952–1992 Some Contemporary Essayists (Personal, Familiar, and Humorist) Joan Didion: Slouching toward Bethlehem, The White Album Edward Hoagland: Heart’s Desire, Sex and the River Styx Annie Dillard: Pilgrim at Tinker’s Creek, Teaching a
The Empathy Exams: Essays
by Leslie Jamison · 30 Mar 2014
’m just kidding. Don’t weep to me. The wounded one will not permit herself. And yet, does. Servicio Supercompleto Near the beginning of Salvador, Joan Didion’s 1983 account of a repressive state in the thick of civil war, Didion goes to the mall. She’s looking for the truth of
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press says “Satanic orgy.” The parents seem convinced of devil worship. Damien calls West Memphis “Second Salem.” “We tell ourselves stories in order to live,” Joan Didion wrote, meaning frightened people need motives. Meaning everyone does. A preacher remembers Damien saying he couldn’t be saved. He hadn’t taken the Bible
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most basic things. Grealy is one of the provisional guides Leslie Jamison invokes in The Empathy Exams, along with Caroline Knapp, James Agee, Frida Kahlo, Joan Didion, Anne Carson, Susan Sontag, Elaine Scarry, and Vladimir Propp, among others, and something of Grealy’s canniness and persistence spurs Jamison. As readers (maybe also
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of literary nonfiction, extending from Robert Burton and Thomas Browne in the seventeenth century through Daniel Defoe and Lytton Strachey and on to James Baldwin, Joan Didion, and Jamaica Kincaid in our own time. Whether grounded in observation, autobiography, or research, much of the most beautiful, daring, and original writing over the
You Can't Make This Stuff Up: The Complete Guide to Writing Creative Nonfiction--From Memoir to Literary Journalism and Everything in Between
by Lee Gutkind · 13 Aug 2012 · 347pp · 90,234 words
nonfiction writer—passion for people, passion for the written word, passion for knowledge, passion for spontaneity of experience, passion to understand how things work. As Joan Didion said in a New York Times Magazine article titled “Why I Write” (1976), “I write to find out what I am thinking, what I am
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’Agata demonstrates in his 2002 anthology, The Next American Essay. D’Agata brings together work from such creative nonfiction masters as John McPhee, Susan Sontag, Joan Didion, and Annie Dillard to demonstrate the scope of the lyrical form of creative nonfiction, blending biography, poetry, philosophy, and memoir. As I have mentioned on
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“The Man Who Kept Oprah Awake at Night.” The Oprah edition of the paperback sells more than 2 million copies. - The Year of Magical Thinking, Joan Didion’s exploration of grief and the year following her husband’s unexpected death, wins the National Book Award for nonfiction. - Scandal? The family of Dr
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