Let Me Tell You What I Mean
An Essay Collection
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- 8,49 €
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- 8,49 €
Description de l’éditeur
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.
PUBLISHERS WEEKLY
This wide-ranging essay collection from Didion (South and West: From a Notebook) showcases her strengths as a short form writer. Organized chronologically from 1968 to 2000, the pieces trace Didion's development as an essayist and offer glimpses of late-20th-century social history. In 1968's "Alicia and the Underground Press," Didion writes of "tabloid-sized papers that respect the special interests of the young and the disaffiliated," praising their ability to speak directly to their readers; "The Long-Distance Runner," from 1993, is an ode to filmmaker Tony Richardson: "I never knew anyone who so loved to make things," she writes; and "Everywoman.com," from 2000, examines the "cultural meaning of Martha Stewart's success" and the way she "branded herself not as Superwoman but as Everywoman." As always, the writing is captivating in the early "Getting Serenity," she writes about attending a Gamblers Anonymous meeting ("I got out fast then, before anyone could say serenity' again, for it is a word I associate with death") and finds just the right details to nail down the feeling of a bygone era for example, the mix of "plastic hydrangeas" and cigarette smoke at the GA meeting. Didion fans new and old will be delighted.
