“Joansing” for Didion

While Halloween has always held a coveted spot in my heart and imagination, the truth is, I used to get almost as excited for the 4thof July. It was like the summertime version of my favorite autumn day, where the rules were bent and the pure joy of living was the day’s entire purpose. I distinctly remember people from my childhood commenting about my love for this holiday, and about how patriotic I must have been. But that was never the reality.

What I loved were the barbecues and the being outside with friends all day, playing kickball and having water balloon fights, and getting so bloated on hot dogs and ice cream that I thought I’d burst before the big city fireworks show. I loved the morning parade, being in it as a Boy Scout and, when Boy Scout days were over, arising early to save the family seats along the sidewalk, close enough to grab candy and other goodies from the parade participants.

And I can still hear the sound of the ice cream truck, softly in the distance. I can see my friends’ faces as they heard it too; we’d look at each other at just the right moment, realizing it was time to pause the game, rush home to beg for a dollar, and then get back out into the street in time to stop the truck as he came tinkling down the road. But more than anything, it was the fireworks.

Reading Joan Didion is like reading the 4th of July. It is fireworks in my brain and sitting down with an old friend to chat about and think about everything and nothing, and leaving exhausted by the pure and exhilarating experience of being together again. There’s no special magic to fireworks, once you learn they’re little more than powder, a match, and some cleverly timed fuses. In the same way, one can “figure out” the technical and creative style of Didion in order to explain just how she does what she does, and why it is so compelling. But even now, that knowledge, about fireworks and Didion, remains subliminal, and I continue to be, above all, caught up in the spectacle, in the color and rhythm and choreography of it all.

The White Album is a collection of essays written in the “aftermaths of the 1960s.” Her subject matter ranges from personalities like Doris Lessing to events like the Manson murders. What holds it all together is the skeptical and, in hindsight, sobering but accurate perspective of an often-mistaken view about the United States’ “greatest decade.” Didion takes an unflinching look at the optimism of the 1960s, the supposed freedoms, and the many breakdowns and reckonings of that idealism, the unmasking, as it were, of one decade by its disillusioned successor, the 1970s.

In the first essay, from which the collection takes its title, Didion writes, “We tell ourselves stories in order to live . . . we look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the “ideas” with which we have learned to freeze the shifting phantasmagoria which is our actual experience.” In other words, the writer’s work at this time was to try to make sense of the senseless, and the 1970s more than any other time revealed that, sometimes, the narrative is simply wrong.

In later essays, she writes about architecture, like governors’ mansions and museums, as signifiers of our culture’s shaken and superficial, even misleading, view of our own past. In “The Getty,” for example, she writes, “the Getty tells us that the past was perhaps different from the way we like to perceive it.” If the collection has one unifying theme, it is this critique on what we Americans think we know about our own past, and how quickly truth and reality seem to slip through our fingers. To read this collection now, in 2018, is a particularly painful and humbling experience.

One of the most under-rated essays in the collection is its last, “Quiet Days in Malibu.” In a way, this piece, written between 1976-1978, is the logical concluding piece not just because it comes near the end chronologically, but because Didion writes about the personal experience of living in Malibu in order to reveal that it, too—the reality of her hometown—is different from how it is perceived by those who live outside of it. Malibu, California has an aura about it that relates to nothing real, according to Didion, just as the 1970s exposed the truth of the 1960s, puncturing its aura forever. Aptly, and somewhat ironically, at the center of her experience in this essay is an immigrant who runs a local flower shop for decades. His are some of the most expensive, sought-after plants in the world and, like everything else, their position is precarious. Danger and uncertainty, instability and tragedy, are always lurking. And yet, so is hope—inexplicable, untraceable, blind hope.

I adore Didion’s writing, so beware my bias. That said, this is perhaps her most tightly themed collection. Despite an essay or two with which I had some intellectual or emotional disagreement (there is one titled “The Women’s Movement” that left me feeling more than conflicted), I felt a fierce and powerful sense of grounded awe while reading these essays and after finishing the collection. This is what I’ve come to expect, personally, from my time with Joan Didion.

The rocket’s red glare. The bombs bursting in air.

This was the fifth book read for my TBR Pile Challenge.

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13 Comments on ““Joansing” for Didion

  1. There is so much I love about this book! I adore her essay “In the Islands” because of how raw and honest she is. At times, it’s like she says what I think, but don’t dare say or explore. And her packing list in “The White Album!” I usually wind up consulting it when I am getting ready for a road trip for reasons unknown. Lastly, “The Women’s Movement.” I have read accounts by Didion, Ephron, and Steinem that all discuss each other. Taken as a piece of the picture, it was very interesting to see the differing views.

    Liked by 1 person

    • “In the Islands” very much reminded me of THE YEAR OF MAGICAL THINKING and BLUE NIGHTS, and I enjoyed it very much. I definitely need to read the Ephron and Steinem, now. Do you know which titles to find? It’d be interesting to put them all together in a collection.

      Liked by 1 person

      • The only Steinem I’ve read is her memoir MY LIFE ON THE ROAD. As for Ephron, I started with THE MOST OF NORA EPHRON (has journalism, profiles, her novel, a screenplay, food pieces, blog posts, and personal pieces), then I bought the rest of her work piecemeal.

        Liked by 1 person

  2. Earlier this year, I read Slouching Toward Bethlehem after watching the documentary about her on Netflix. I was sometimes captivated by her essays and sometimes kind of bored. it really was half and half. I didn’t make notes so I don’t remember what I did and didn’t like but I loved the documentary and I definitely want to read more.

    Liked by 1 person

    • Yeah, she writes about a range of things, some of which I find interesting and some of which I don’t. This is a pretty cohesive collection, though, in that all of the essays (about very different subjects) still seem to be rooted in the idea of post-1960s American nihilism. I think The Year of Magical Thinking is her best as far as essay collections go, and I love her novel Play It As It Lays (even though it is depressing.)


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  4. Great review. Oh, I really need to read Didion’s non-fiction. I’ve read all except one of her novels but have still yet to read any of her non-fiction which is crazy considering I prefer non-fiction in general.

    Liked by 1 person

    • Please do! I think she’s a powerful essayist and cultural critic. Her voice in American letters is so important — a lot of her best work is when she blends memoir with her journalist perspective (Year of Magical Thinking, Blue Nights, “Malibu”).


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