Posts Tagged ‘Joan Didion’
July 23, 2015 | by Dan Piepenbring
- Explaining the Internet’s Joan Didion obsession is a tricky thing: “In the crossover of feminism, fashion, and literary interests, there is a whole swathe of the internet where Didion is a staple reference. Her borscht recipe can be found on the website Brain Pickings, and her list of items to pack for reporting trips periodically crops up on style blogs … In 1989, she appeared in GAP ads with her twenty-three-year-old daughter, wearing black turtlenecks, and staring defiantly into the camera with only the barest suggestion of a smile. Last year, she wore huge black shades in ads for the French luxury goods brand Céline, which inspired devotion in unexpected places and in-depth analysis from the already devoted.” And yet this obsession seldom seems to extend to her political writing, which accounts for the bulk of her output—they only want her to write about herself. And what of that self? “To be so glamorously sensitive and beautiful that you have to be taken care of,” Pauline Kael once wrote, was the “ultimate princess fantasy.”
- This is peak road-trip season. If you’re not in a car right now, lighting out for the territories and exuding manifest destiny—well, it’s not too late. But don’t be all Fleetwood Mac about it. You cannot, in fact, go your own way. You can instead follow in the footsteps (tire tracks?) of writers past: Kerouac, Twain, Fitzgerald, Steinbeck, Wolfe …
- On second thought, stay home. It’s more or less impossible to be a good travel writer anyway. You risk falling into two camps: the Elizabeth Gilbert, interior psychodrama, “obnoxious white lady in brown places” camp, or the Bruce Chatwin, indomitable male, “colonialist’s baggage stuffed full with preconceived assumptions” camp. If you’re looking for role models, try Freya Stark and Dervla Murphy: “Stark was in the world with her writing, not above it, not in herself … Her writing restores humanity to people who have otherwise been stripped down to news reports, reduced to death tolls and photos of open-mouthed weeping. The secret to her success was listening to the people she visited and letting them tell the story. This shouldn’t be any secret. It should be what every travel writer does.”
- A man who speaks hardly a lick of French has triumphed in the Francophone Scrabble Championship having apparently memorized the entire French Scrabble Dictionary in just a few days. Nigel Richards, “the Tiger Woods of Scrabble,” regards words as “just combinations of letters,” like numbers: “He has learned no language logic, just a succession of letter sequences giving rise to words. In his head it’s binary: what draw (of letters) can make a scrabble, what draw can’t.”
- On James Purdy, who wanted to write stories that “bristled with impossibilities”: “In his novels and short fiction, possibility and potential are always compromised. There is neither transcendence nor transformation. His characters do not grow or develop; they dwindle and unravel … It’s hard to think of a contemporary writer whose work shares this sensibility, a cool elegance laid over extreme emotion. The most apt comparison may be Wes Anderson, whose films similarly feature casts of eccentrics, dialogue full of non sequiturs, deadpan humor, and unabashed farce.”
July 7, 2015 | by Jeffery Gleaves
- Joan Didion is twice the man you’ll ever be, so suggests a recent article in The Millions. Her masculine superiority lies in the “glacial emotional distance” of her prose, which is better than yours. Her coolness astounds: in her essay, “On Self-Respect,” she writes that people who have it, “are willing to invest something of themselves; they may not play at all, but when they do play, they know the odds.”
- Ottessa Moshfegh, winner of the 2013 Plimpton Prize, talks with Sarah Gerard about keeping a notebook: “When I’m writing to myself, I’m really trying to process something, and it usually has to do with writing out my delusion and then trying to interpret what that delusion might be in service of, and then trying to comfort myself about the anxiety that the delusion was helping me cope with.”
- Apple reversed its decision to ban historical video games that depict the battle flag of the Confederate States of America. Copies of Gone with the Wind and The Red Badge of Courage weren’t being pulped during the recent public outcry against flying the Confederate flag at certain state capitols, nor were Cold Mountain or Glory taken off the iTunes store. This reminds gamers, yet again, “that games are seen not as a scholarly pursuit, that they do not merit serious consideration alongside films and books on their subject matter.”
- While we’re talking about America, it seems our literary canon isn’t fit for television. Consider the numerous Jane Austen adaptations, the massive success of Downton Abbey, and the lack of a critically acclaimed film version of any Faulkner novel. Are American novels too dark for TV, or has Hollywood locked up the rights for most major American titles? As Rebecca Eaton, executive producer of Masterpiece, says, “The reasons that we haven’t are twofold … One is money, the second is money. And the third is money.”
- Which reminds me: culture isn’t free, but our post-Napster, digitalized-content world still operates as if it were. The trouble is, “if individual artists cannot make a living from their creative work, they will eventually throw in the towel,” and it’s important that “large corporations do not monopolize the cultural sphere.” Wrest control of culture from the ruling class. Buy a book.
April 7, 2015 | by Nick Tabor
The widening gyre of heavy-handed allusions to Yeats’s “The Second Coming.”
A recent Russia Today headline suggests that Europe is “slouching towards anxiety and war.” According to the title of Robert Bork’s latest best seller, the United States is Slouching Towards Gomorrah. A new book by W. C. Harris, an English professor, claims we’re Slouching Towards Gaytheism. A casual reader might wonder why the nations of the world have such terrible posture; is it that the earth is slouching towards bedlam? Have things fallen apart?
The only thing not doing any slouching these days is the “rough beast” in W. B. Yeats’s “The Second Coming,” the 1919 poem from which the phrase originates: “And what rough beast, its hour come round at last, / Slouches towards Bethlehem to be born?”
But Yeats’s beast, it must be said, isn’t deteriorating or dying in its slouching, as the many references to the phrase would have you believe; rather, it slouches in steady, dedicated progress toward a goal. It’s actually a terrifying sight: the poem’s narrator intuits that the beast is coming to wreak some untold havoc. (At least one blog got this subtlety right in a headline about the 2012 election cycle: “Romney slouching toward GOP nomination.”)
“The Second Coming” may well be the most thoroughly pillaged piece of literature in English. (Perhaps Macbeth’s famous “sound and fury” monologue is a distant second.) Since Chinua Achebe cribbed Yeats’s lines for Things Fall Apart in 1958 and Joan Didion for Slouching Towards Bethlehem a decade later, dozens if not hundreds of others have followed suit, in mediums ranging from CD-ROM games to heavy-metal albums to pornography. These references have created a feedback loop, leading ever more writers to draw from the poem for inspiration. But how many of them get it right? Read More »
January 7, 2015 | by Dan Piepenbring
- Facebook’s Mark Zuckerberg has started a book club—it’s perfect for philistines. “Zuckerberg launched the project by announcing, with what sounds almost like surprise, that books are ‘intellectually fulfilling’ and ‘allow you to fully explore a topic … in a deeper way than most media today’ … Imagine a world in which there’d been 700 years of the internet, before, in the nineties, somebody invented books. It would surely seem a miracle that, instead of trawling through acres of semi-reliable information, you could have a guaranteed, portable and inexpensive source of knowledge from someone who knows both how to write and what they’re talking about.”
- Joan Didion is, at eighty years old, still writing, and still modeling. She’s the new face for the Spring 2015 line of the French fashion label Céline. And she looks positively thrilled to be there.
- Why have we reserved the adjective difficult for works of high art? If difficult means “hard to read, hard to get through, hard to finish,” then Fifty Shades of Grey is every bit as difficult as The Recognitions. “Difficulty is various and subjective … opacity and frustration aren’t necessarily errors or failures on the part of the reader.”
- A crop of recent novels express a curious nostalgia for the seventies: “Everyone knows now how decades come back into fashion with motiveless regularity … The novelists who have lately returned to the Seventies seem to be making a stronger claim: that there is something uniquely vital to the decade, and in fact uniquely to be missed.”
- Say the apocalypse were to arrive and a world-sundering hellfire rained down upon us. CNN is ready. When Ted Turner founded the company thirty-four years ago, he stipulated that the network’s last functioning employee had to air a certain video before ceasing broadcast at the end of the world. This is it.
November 21, 2014 | by Sadie Stein
Migraines are the most glamorous of headaches. Mysterious, debilitating, unpredictable: they get all the press. Who wants to talk about the workaday irritation of a tension headache, the dull thud of dehydration, the queasy slosh of sinus infections? That’s not sexy. By definition, even; the headache is the punch line to half the Andy Capp jokes in the world.
But migraines! Everyone relishes a migraine. They have a literal aura! Migraines foster the sort of pure narcissism that only intense, essentially benign pain can. We sufferers (that’s how it’s described, “migraine sufferer”) feel it is meet and right that the migraine should be dramatized in films like Pi or White Heat; this strengthens the perception that migraines are the hallmark of geniuses, or at least psychopaths. Joan Didion writes about them; of course she does. In “In Bed,” she describes the purification arising from this crucible of pain:
The migraine has acted as a circuit breaker, and the fuses have emerged intact. There is a pleasant convalescent euphoria. I open the windows and feel the air, eat gratefully, sleep well. I notice the particular nature of a flower in a glass on the stair landing. I count my blessings.
Yes, Joan, yes! That’s it exactly! Of course, she also says, “My husband also has migraine, which is unfortunate for him but fortunate for me: perhaps nothing so tends to prolong an attack as the accusing eye of someone who has never had a headache.” I disagree. What migraine sufferer wants to share the limelight? After all, we all know in our hearts that no one in the history of the world has ever experienced basically unserious pain like we have.
It’s a bit like cats on social media. On the face of it, social media is a boon for cat fanciers, so long isolated from the easy socialization of other pet owners. And on the face of it, it is indeed a vibrant online community. But the suspicion cannot help but intrude, first, that everyone really thinks her cat is the cutest, the wackiest, the wittiest, the best. And second, that this conviction is unshakeable.
So it is with migraine sufferers. On the face of it, we’re collegial. Oh, you get migraines, too? We compare triggers (Tyramines? Blood sugar? Hormones?) and triptans. Have you tried Zomig? Maxalt? Imitrex? What about the spray? And then the one-upsmanship begins. How often? For how long? Where is your pain localized? Really, behind the eyes? Interesting. I didn't realize that qualified as a migraine! Light sensitivity? Nausea? Have you tried biofeedback? Beta-Blockers? Botox? Acupuncture? Going GF? (That’s recent.) What about that codeine stuff you can only get in Europe because the FDA hasn’t approved it? Have you been to the ER? How many times? Have you seen a neurologist? (We all have; there’s never anything wrong with us. At least, nothing detectable.) Of course, if anyone plays the “Cluster Headache” card, the conversation is over, and the rest of us have to trudge sullenly away.
September 9, 2014 | by David Michael
In San Francisco earlier this spring, I’d hoped to meet the essayist Richard Rodriguez, the author of The Hunger of Memory: The Education of Richard Rodriguez, Days of Obligation: An Argument with My Mexican Father, Brown: The Last Discovery of America, and, most recently, Darling: A Spiritual Autobiography, which has just been published in paperback. Though he’s largely associated with his early stances against affirmative action and bilingual education, not to mention his regular appearances on the PBS NewsHour, Rodriguez, who turned seventy in July, has had a wide-ranging career, and I wanted to discuss the shift of his work from cultural identity to religion. But our schedules were tricky to coordinate, and then I lost my wallet. “Pray to St. Anthony!” Rodriguez immediately wrote. (The wallet was recovered by one of the famous bellmen at Sir Francis Drake Hotel. “St. Anthony dressed as a beefeater,” as Rodriguez put it.) Instead, we corresponded for several weeks.
I was excited and surprised by Darling: A Spiritual Autobiography. I had seen you referred to as a Mexican-American writer, a Californian writer, and a gay writer, but never, until recently, as a religious writer. Have you always considered yourself a religious writer?
Of course, I haven’t, until lately, considered myself a “writer”—in the grand sense. For most of my writing life, I have stood truly, if uneasily, on American bookstore shelves as a sociological sample—shelved “Latino” between a gangbanger’s book of poetry and the biography of a Colombian drug lord. Only in recent years, as it has become clear to me that so few people I know read books, have I been struck by the fact that I am a writer.
My sense of being religious is older. From boyhood, particularly my lower-middle-class childhood in Sacramento, I was transported by religion into the realm of mystery. Consider this: The Irish nun excused me from arithmetic class so that I could serve as an altar boy at a funeral mass. Along with the priest and the other altar boy, I would welcome Death at the doors of the church. We escorted Death up the main aisle. I later went with the cortege to the cemetery. There was a fresh pile of soil piled high at the edge of the grave site, discreetly, if unsuccessfully, covered by an AstroTurf rug that was as unconvincing a denial of the hardness of time as a cheap toupee. I wondered at the mourners’ faces—the melting grief, the hard stoicism. Thirty minutes from the grave, I was back within the soft green walls of Sacred Heart Parish School. It was almost lunchtime. I resumed my impersonation of an American kid. Read More »