Library of America collection tracks Joan Didion's emergence through her 1960s and ’70s works
The sequence is as predictable as the season itself: The calendar reads “fall” but the thermometer registers 90-plus. The Santa Ana winds kick up. Wildfires zipper across the landscape. Once again Joan Didion whispers in the Southland’s collective ear.
It’s home. The truth of it. Hot pavement under our feet. She has written hauntingly about disasters — both acts of God and man-made mayhem, from runaway wildfires to Weaving together intimate autobiographical elements, keen sensory observation, topical themes and major cultural shifts , Didion arrives as a distinct voice in the era of New Journalism. Looking both forward and backward, she assesses the vanishing California Dream and investigates what might lie in wait around the corner.“All this stuff is happening in California,” Ulin says.
After shuttling back and forth across the country with her Army Air Corps father and her family, she eventually enrolls at UC Berkeley and joins the staff of In 1970 Didion publishes her second novel, “Play It As It Lays,” which also receives “rapturous reviews.” Those two titles and amagazine photograph by Julian Wasser of Didion — sylph-like, standing with her Corvette, smoking, eyeing the camera with a flare of provocation — become “the first iconic images of her,” Ulin writes.youAdvertisement
Some have called out and denounced threads of class caste in her writing. “I think we absolutely have to consider that when we’re reading her work,” Ulin says. “There are a lot of readers who have been turned off to her writing because of those issues. But one of the things I admire is that she makes no bones about owning it. She is writing from a very particular and very rarefied social and class-based perspective.
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