JOAN DIDION was born in Sacramento in 1934 and graduated from the
University of California, Berkeley, in 1956. After graduation,
Didion moved to New York and began working for Vogue, which
led to her career as a journalist and writer. Didion published her
first novel, Run River, in 1963. Didion's other novels
include A Book of Common Prayer (1977), Democracy
(1984), and The Last Thing He Wanted (1996).
Didion's first volume of essays, Slouching Towards Bethlehem, was published in 1968, and her second, The White Album, was published in 1979. Her nonfiction works include Salvador (1983), Miami (1987), After Henry (1992), Political Fictions (2001), Where I Was From (2003), We Tell Ourselves Stories in Order to Live (2006), Blue Nights (2011), South and West (2017) and Let Me Tell You What I Mean (2021). Her memoir The Year of Magical Thinking won the National Book Award for Nonfiction in 2005.
In 2005, Didion was awarded the American Academy of Arts & Letters Gold Medal in Criticism and Belles Letters. In 2007, she was awarded the National Book Foundation's Medal for Distinguished Contribution to American Letters. A portion of National Book Foundation citation read: "An incisive observer of American politics and culture for more than forty-five years, Didion's distinctive blend of spare, elegant prose and fierce intelligence has earned her books a place in the canon of American literature as well as the admiration of generations of writers and journalists." In 2013, she was awarded a National Medal of Arts and Humanities by President Barack Obama, and the PEN Center USA's Lifetime Achievement Award.
Didion said of her writing: "I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means." She died in December 2021.
Didion really did need some magical thinking at the end of 2003: in quick succession, daughter Quintana Roo went into septic shock, husband John Gregory Dunne died of a heart attack, and Quintana Roo, having recovered, suddenly required brain surgery for a hematoma. With an 11-city tour. Copyright 2005 Reed Business Information.
Many will greet this taut, clear-eyed memoir of grief as a long-awaited return to the terrain of Didion's venerated, increasingly rare personal essays. The author of Slouching Towards Bethlehem and 11 other works chronicles the year following the death of her husband, fellow writer John Gregory Dunne, from a massive heart attack on December 30, 2003, while the couple's only daughter, Quintana, lay unconscious in a nearby hospital suffering from pneumonia and septic shock. Dunne and Didion had lived and worked side by side for nearly 40 years, and Dunne's death propelled Didion into a state she calls "magical thinking." "We might expect that we will be prostrate, inconsolable, crazy with loss," she writes. "We do not expect to be literally crazy, cool customers who believe that their husband is about to return and need his shoes." Didion's mourning follows a traditional arc-she describes just how precisely it cleaves to the medical descriptions of grief-but her elegant rendition of its stages leads to hard-won insight, particularly into the aftereffects of marriage. "Marriage is not only time: it is also, paradoxically, the denial of time. For forty years I saw myself through John's eyes. I did not age." In a sense, all of Didion's fiction, with its themes of loss and bereavement, served as preparation for the writing of this memoir, and there is occasionally a curious hint of repetition, despite the immediacy and intimacy of the subject matter. Still, this is an indispensable addition to Didion's body of work and a lyrical, disciplined entry in the annals of mourning literature. Agent, Lynn Nesbit. 60,000 first printing; 11-city author tour. (Oct. 19) Copyright 2005 Reed Business Information.
"Thrilling . . . a living, sharp, and memorable book. . . . An
exact, candid, and penetrating account of personal terror and
bereavement . . . sometimes quite funny because it dares to tell
-Robert Pinsky, The New York Times Book Review
"Stunning candor and piercing details. . . . An indelible portrait of loss and grief."
-Michiko Kakutani, The New York Times
"I can't think of a book we need more than hers. . . . I can't imagine dying without this book."
-John Leonard, New York Review of Books
"Achingly beautiful. . . . We have come to admire and love Didion for her preternatural poise, unrivaled eye for absurdity, and Orwellian distaste for cant. It is thus a difficult, moving, and extraordinarily poignant experience to watch her direct such scrutiny inward."
-Gideon Lewis-Kraus, Los Angeles Times
"An act of consummate literary bravery, a writer known for her clarity allowing us to watch her mind as it becomes clouded with grief. . . . It also skips backward in time [to] call up a shimmering portrait of her unique marriage. . . . To make her grief real, Didion shows us what she has lost."
-Lev Grossman, Time