Joan Didion

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(The New York Public Library is opening up its archives of Joan Didion and her husband Gregory Dunne to the public next month, a collection that comprises a total of 336 boxes “most of which have never)
(Joan Didion - buch liste=== If you’ve read much Joan Didion, you’ve almost surely come across an observation or phrase that has changed the way you look at California, the media, or the culture of th)
 
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==Joan Didion - buch liste==
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If you’ve read much Joan Didion, you’ve almost surely come across an observation or phrase that has changed the way you look at California, the media, or the culture of the late 20th century — or indeed, changed your life. But if life-changing writers have all had their own lives changed by the writers before them, which writers made Joan Didion the
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Joan Didion whose writing still exerts an influence today? Conveniently enough, the author of Play It as It Lays, Slouching Towards Bethlehem, and The White Album once drew up a list of the books that changed her life, and it surfaced on Instagram a few years ago:
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A Farewell to Arms by Ernest Hemingway
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Victory by Joseph Conrad
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Guerrillas by V.S. Naipaul
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Down and Out in Paris and London by George Orwell
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Wonderland by Joyce Carol Oates
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Wuthering Heights by Emily Brontë
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The Good Soldier by Ford Madox Ford
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One Hundred Years of Solitude by Gabriel Garcia Márquez
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Crime and Punishment by Fyodor Dostoyevsky
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Appointment in Samarra by John O’Hara
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The Executioner’s Song by Norman Mailer
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The Novels of Henry James: Washington Square, Portrait of a Lady, The Bostonians, Wings of the Dove, The Ambassadors,
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The Golden Bowl, Daisy Miller, The Aspern Papers, The Turn of the Screw
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Speedboat by Renata Adler
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Go Tell It on the Mountain by James Baldwin
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Notes of a Native Son by James Baldwin
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The Berlin Stories by Christopher Isherwood
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Collected Poems by Robert Lowell
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Collected Poems by W.H. Auden
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The Collected Poems by Wallace Stevens
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In 1978, when Didion had already become a new-journalism icon, The Paris Review‘s Linda Kuehl asked her whether any writer influenced her more than others. “I always say Hemingway,” she replied, “because he taught me how sentences worked. When I was fifteen or sixteen I would type out his stories to learn how the sentences worked. I taught myself to type at the same time.” Teaching A Farewell to Arms, her number-one most influential book, she “fell right back into those sentences. I mean they’re perfect sentences. Very direct sentences, smooth rivers, clear water over granite, no sinkholes.”
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Didion’s list also includes other masters of the sentence, albeit most of them possessed of sensibilities quite distinct from Hemingway’s. Henry James, for instance: “He wrote perfect sentences, too, but very indirect, very complicated. Sentences with sinkholes. You could drown in them.” Consider them alongside the other writers among her favored nineteen, from novelists like Emily Brontë and Joyce Carol Oates to poets like Wallace Stevens and W.H. Auden to figures with one foot in literature and the other in journalism like George Orwell and Norman Mailer, and you’ve got a mix that no two aspiring writers could read and come out sounding exactly alike. No surprise that such a set of influences would produce a writer like Didion, so often imitated but, in her niche, never equaled.
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via BrainPickings
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Aktuelle Version vom 19. Juli 2026, 17:58 Uhr

Inhaltsverzeichnis

Joan Didion, Why I Write

I went to a writing seminar where Didion was the guest speaker. I met her afterward, and asked her about overcoming writer's block. It was a brush with greatness. Her advice was sage. She said she doesn't write novels or screenplays or articles. She writes sentences. Don't think about the whole thing, just write one sentence, then another, then another. I use that advice every day. I remember when I finished college, I was eating dinner with my mother. She asked me, now that I had a degree in communications, what was I going to be. I said I wanted to be Joan Didion. My mom looked perplexed. "I thought you would pick a man," she said.

Joan Didion, from “Why I Write”:

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Joan Didion, Why I Write

Grammar is a piano I play by ear, since I seem to have been out of school the year the rules were mentioned. All I know about grammar is its infinite power. To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed. Many people know about camera angles now, but not so many know about sentences. The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind. The picture dictates the arrangement. The picture dictates whether this will be a sentence with or without clauses, a sentence that ends hard or a dying-fall sentence, long or short, active or passive. The picture tells you how to arrange the words and the arrangement of the words tells you, or tells me, what’s going on in the picture.

— Joan Didion, Why I Write

080622 via fb mikal gilmore

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Her evocative quote— "I want you to know, as you read me,

precisely who I am and where I am and what is on my mind. I want you to understand exactly what you are getting: you are getting a woman who for some time now has felt radically separated from most of the ideas that seem to interest people. You are getting a woman who, somewhere along the line, misplaced whatever slight faith she ever had in the social contract...in the whole grand pattern of human endeavor"—reflects her introspective and often critical view of the world around her.

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JOAN DIDION: Blaue Stunden

Roman. Ullstein Verlag, 208 Seiten, € 18,00

Jeden Abend in der Dämmerung kommt das „Zurückkehren ins Blaue“, die Erinnerung. Das neue Buch der großen Essayistin Joan Didion über das Alter, die Verluste des Lebens und vor allem den Tod der Tochter.

„Die Angst kommt nicht von dem Verlorenen ... Die Angst kommt von dem, was noch verloren werden kann.“

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"I'm not telling you to make the world better, because I don't think that progress is necessarily part of the package. I'm just telling you to live in it. Not just to endure it, not just to suffer it, not just to pass through it, but to live in it. To look at it. To try to get the picture. To live recklessly. To take chances. To make your own work and take pride in it. To seize the moment." — Joan Didion

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The New York Public Library is opening up its archives of Joan Didion and her husband Gregory Dunne to the public next month, a collection that comprises a total of 336 boxes “most of which have never been seen publicly": https://bit.ly/43oPEkP

250225 via fb

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Joan Didion - buch liste

If you’ve read much Joan Didion, you’ve almost surely come across an observation or phrase that has changed the way you look at California, the media, or the culture of the late 20th century — or indeed, changed your life. But if life-changing writers have all had their own lives changed by the writers before them, which writers made Joan Didion the

Joan Didion whose writing still exerts an influence today? Conveniently enough, the author of Play It as It Lays, Slouching Towards Bethlehem, and The White Album once drew up a list of the books that changed her life, and it surfaced on Instagram a few years ago:

A Farewell to Arms by Ernest Hemingway

Victory by Joseph Conrad

Guerrillas by V.S. Naipaul

Down and Out in Paris and London by George Orwell

Wonderland by Joyce Carol Oates

Wuthering Heights by Emily Brontë

The Good Soldier by Ford Madox Ford

One Hundred Years of Solitude by Gabriel Garcia Márquez

Crime and Punishment by Fyodor Dostoyevsky

Appointment in Samarra by John O’Hara

The Executioner’s Song by Norman Mailer

The Novels of Henry James: Washington Square, Portrait of a Lady, The Bostonians, Wings of the Dove, The Ambassadors, The Golden Bowl, Daisy Miller, The Aspern Papers, The Turn of the Screw

Speedboat by Renata Adler

Go Tell It on the Mountain by James Baldwin

Notes of a Native Son by James Baldwin

The Berlin Stories by Christopher Isherwood

Collected Poems by Robert Lowell

Collected Poems by W.H. Auden

The Collected Poems by Wallace Stevens

In 1978, when Didion had already become a new-journalism icon, The Paris Review‘s Linda Kuehl asked her whether any writer influenced her more than others. “I always say Hemingway,” she replied, “because he taught me how sentences worked. When I was fifteen or sixteen I would type out his stories to learn how the sentences worked. I taught myself to type at the same time.” Teaching A Farewell to Arms, her number-one most influential book, she “fell right back into those sentences. I mean they’re perfect sentences. Very direct sentences, smooth rivers, clear water over granite, no sinkholes.”

Didion’s list also includes other masters of the sentence, albeit most of them possessed of sensibilities quite distinct from Hemingway’s. Henry James, for instance: “He wrote perfect sentences, too, but very indirect, very complicated. Sentences with sinkholes. You could drown in them.” Consider them alongside the other writers among her favored nineteen, from novelists like Emily Brontë and Joyce Carol Oates to poets like Wallace Stevens and W.H. Auden to figures with one foot in literature and the other in journalism like George Orwell and Norman Mailer, and you’ve got a mix that no two aspiring writers could read and come out sounding exactly alike. No surprise that such a set of influences would produce a writer like Didion, so often imitated but, in her niche, never equaled.

via BrainPickings

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