NEW YORK TIMES BESTSELLER • NATIONAL BOOK AWARD WINNER • From one of America’s iconic writers, a stunning book of electric honesty and passion that explores an intensely personal yet universal experience: a portrait of a marriage—and a life, in good times and bad—that will speak to anyone who has ever loved a husband or wife or child.One of The New York Times’s 100 Best Books of the 21st CenturySeveral days before Christmas 2003, John Gregory Dunne and Joan Didion saw their only daughter, Quintana, fall ill with what seemed at first flu, then pneumonia, then complete septic shock. She was put into an induced coma and placed on life support. Days later—the night before New Year’s Eve—the Dunnes were just sitting down to dinner after visiting the hospital when John Gregory Dunne suffered a massive and fatal coronary. In a second, this close, symbiotic partnership of forty years was over. Four weeks later, their daughter pulled through. Two months after that, arriving at LAX, she collapsed and underwent six hours of brain surgery at UCLA Medical Center to relieve a massive hematoma.
This powerful book is Didion’ s attempt to make sense of the “weeks and then months that cut loose any fixed idea I ever had about death, about illness ... about marriage and children and memory ... about the shallowness of sanity, about life itself
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On sale: February 13, 2007
Grade: Grades 9-12 + AP/IB
Page count: 240 Pages
ISBN: 9781400078431
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.
“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 the truth.”
—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
