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발행일	2021년 01월 26일
재생정보	완독본 \| Kimberly Farr and Hi 낭독 \| 총 4시간 5분 46초
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파일/용량	AUDIO \| 337.57MB
ISBN13	9780593349403

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소개 책소개 보이기/감추기

A NEW YORK TIMES NOTABLE BOOK OF THE YEAR ? NEW YORK TIMES BEST SELLER ? From one of our most iconic and influential writers, the award-winning author of The Year of Magical Thinking: a timeless collection of mostly early pieces that reveal what would become Joan Didion’s subjects, including the press, politics, California robber barons, women, and her own self-doubt. With a forward by Hilton Als, these twelve pieces from 1968 to 2000, never before gathered together, offer an illuminating glimpse into the mind and process of a legendary figure. They showcase Joan Didion’s incisive reporting, her empathetic gaze, and her role as “an articulate witness to the most stubborn and intractable truths of our time” (The New York Times Book Review). Here, Didion touches on topics ranging from newspapers (“the problem is not so much whether one trusts the news as to whether one finds it”), to the fantasy of San Simeon, to not getting into Stanford. In “Why I Write,” Didion ponders the act of writing: “I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means.” From her admiration for Hemingway’s sentences to her acknowledgment that Martha Stewart’s story is one “that has historically encouraged women in this country, even as it has threatened men,” these essays are acutely and brilliantly observed. Each piece is classic Didion: incisive, bemused, and stunningly prescient.

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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.

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출판사 리뷰 출판사 리뷰 보이기/감추기

A NEW YORK TIMES NOTABLE BOOK OF THE YEAR ? ONE OF THE BEST BOOKS OF THE YEAR: NPR, Vogue, USA Today, Town & Country, LitHub ? A Most Anticipated Book from Vogue, TIME, Bustle, The New York Times, and many more. “Didion’s remarkable, five decades-long career as a journalist, essayist, novelist, and screen writer has earned her a prominent place in the American literary canon, and the twelve early pieces collected here underscore her singularity. Her musings?whether contemplating “pretty” Nancy Reagan living out her “middle-class American woman’s daydream circa 1948” or the power of Ernest Hemingway’s pen?are all unmistakably Didionesque. There will never be another quite like her.” ?O Magazine “[These] essays are at once funny and touching, roving and no-nonsense. They are about humiliation and about notions of rightness. About mythmaking, fiction writing, her “failed” intellectualism and the syntactic insides of Hemingway’s craft. . . . From the outset Didion’s nonfiction has shown no obligation to the whopping epiphanic. Realizations occur, but she relates them without splendor, as if she’s extracting a tincture. . . . Reading newly arranged Didion [. . .] feels like reaching that dip in a swimming pool where the shallow end suddenly becomes the deep end. The bottom drops out, and you are forced to kick a little, to tread. This is why we return to her work again and again. But Didion cares less for timelessness than for the evanescence of language, mistrusting pink icing or anything else that might launder truth. Undergirding the entire collection is a regard for ephemerality. Of glory, and of the era when fashion photographers called their spaces “the studio.” Of fairy tales and failed attempts at quietude, of a child’s memory soup of imagination. . . . Didion’s pen is like a periscope onto the creative mind ? and, as this collection demonstrates, it always has been. These essays offer a direct line to what’s in the offing.” ?Durga Chew-Bose, The New York Times Book Review “The book traces her journey and development as a writer of magisterial (a word she would never use) command and finely measured style. She brought new eyes to the American scene, whether charting the disconnect between traditional and hippie media or with piercing observations of boldfaced names including Ernest Hemingway, Nancy Reagan and Martha Stewart. She intuited the fragmentation that would breed an internet world, and she sensed danger in the shallow myth-making of celebrity journalism. . . . The incomparable journalism and self-reflection that accompanied every stage of her success would build her legacy. . . . The new book captures the essence of Didion in countless lapidary sentences, especially in the 1998 essay “Last Words,” which deconstructs the lean, “deceptively simple” opening paragraph of Hemingway’s A Farewell to Arms. . . . She would come to match that economy with unwavering vision, setting a standard for those who have inhaled Didion not just as a writer’s writer, but also as a soul ? still-centered, self-haunted ? of modern experience.” ?Matt Damsker, USA Today (★★★★ out of four) “There’s plenty of journalistic gold in Let Me Tell You What I Mean. . . . What’s particularly salient is her trademark farsightedness, which is especially striking decades later. . . . The relevance of her observations in today’s fractured world of fringe media is uncannily prescient.” ?Heller McAlpin, NPR “[This collection] brings together previously uncollected pieces in a prismatic retrospective; the critic Hilton Als charts the arc of her career in a rich foreword. . . . As usual, Didion exceeds our expectations. . . . [The essays] follow the chronology of Didion’s publication in journals and magazines, but it shifts back and forth in time as she contemplates the thread of her own life against the tapestry of postwar America. . . . She jars us beyond the comfort zones of platitudes and groupthink. . . . Didion the literary critic is a marvel: Her dissection of Hemingway’s opening sentence in A Farewell to Arms is a masterpiece in its own right. . . . The Didion of Let Me Tell You What I Mean is [. . .] a revelation, as the woman behind the curtain steps forward, more intimate somehow, with flashes of feminist feeling.” ?Hamilton Cain, O Magazine “Didion’s decades-long attempt to chronicle the images around her is now indelible, both for shifting the literary canon’s idea of what personal reportage could be, and for the snapshots of a particular American experience captured in her prose. With her newest collection of earlier published essays, Let Me Tell You What I Mean, Didion’s ever-expanding influence is worth reconsidering. . . . It’s surprisingly easy to find oneself in Didion’s sway, even unintentionally. Her range is varied but returns again and again to certain tropes and topics: laconic aloofness, the female heroine as distanced observer, the futility of meaning, the myth of narrative cohesion, grief, Los Angeles, New York, foreign reporting, political conventions, the wounded woman, the post-wounded woman. For contemporary authors, touching on any of these puts one in conversation with Didion [but]. . . . those making the Didion comparisons often misunderstand her?her style is not as easily copied as some might think. Her apparent passivity has a specific intention that goes beyond listlessness.” ?Antonia Hitchens, The Wall Street Journal “Let Me Tell You What I Mean works like a skeleton key to unlock Didion’s continued significance in American culture. What has made her so lasting and important to so many? Why are we still talking about her and reading her and teaching her writing in classrooms? The book unpacks this legacy subtly, in a way as twofold as its title: Because she means things, and because she means something. . . . She is the writer who can practically disembowel a politician or pundit’s bad reasoning, take apart a brainless movie or book, or reduce a pompous public figure to a hollow shell, and that’s why writers love her or fear her. Words are her scalpels.” ?Alissa Wilkinson, Vox

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