In this dramatic adaptation of her award-winning, bestselling memoir, Joan Didion transforms the story of the sudden and unexpected loss of her husband and their only daughter into a stunning and powerful one-woman play.

“This happened on December 30, 2003. That may seem a while ago but it won’t when it happens to you....”

Michiko Kakutani in The New York Times called the memoir that was the basis for the play, “an indelible portrait of loss and grief ... a haunting portrait of a four-decade-long marriage."

The first theatrical production of The Year of Magical Thinking opened at the Booth Theatre on March 29, 2007, starring Vanessa Redgrave and directed by David Hare.

A ruthless dissection of American life in the late 1960s, Joan Didion's Play It as It Lays captures the mood of an entire generation, the ennui of contemporary society reflected in spare prose that blisters and haunts the reader. Set in a place beyond good and evil-literally in Hollywood, Las Vegas, and the barren wastes of the Mojave Desert, but figuratively in the landscape of an arid soul-it remains more than three decades after its original publication a profoundly disturbing novel, riveting in its exploration of a woman and a society in crisis and stunning in the still-startling intensity of its prose.

NEW YORK TIMES BESTSELLER • A work of stunning frankness about losing a daughter, from the bestselling, award-winning author of The Year of Magical Thinking and Let Me Tell You What I Mean

Richly textured with memories from her own childhood and married life with her husband, John Gregory Dunne, and daughter, Quintana Roo, this new book by Joan Didion is an intensely personal and moving account of her thoughts, fears, and doubts regarding having children, illness and growing old.

As she reflects on her daughter’s life and on her role as a parent, Didion grapples with the candid questions that all parents face, and contemplates her age, something she finds hard to acknowledge, much less accept. Blue Nights—the long, light evening hours that signal the summer solstice, “the opposite of the dying of the brightness, but also its warning”—like The Year of Magical Thinking before it, is an iconic book of incisive and electric honesty, haunting and profound.

From one of America's iconic writers, 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. A stunning book of electric honesty and passion. Several days before Christmas 2003, John Gregory Dunne and Joan Didion saw their only daughter, Quintana, fall ill. At first they thought it was flu, then pneumonia, then complete sceptic 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 suffered a massive and fatal coronary. In a second, this close, symbiotic partnership of 40 years was over. Four weeks later, their daughter pulled through. Two months after that, arriving at LA airport, she collapsed and underwent six hours of brain surgery at UCLA Medical Centre 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’. The result is an exploration of an intensely personal yet universal experience: a portrait of a marriage, and a life, in good times and bad.

From one of America's iconic writers, 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. A stunning book of electric honesty and passion. Several days before Christmas 2003, John Gregory Dunne and Joan Didion saw their only daughter, Quintana, fall ill. At first they thought it was flu, then pneumonia, then complete sceptic 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 suffered a massive and fatal coronary. In a second, this close, symbiotic partnership of 40 years was over. Four weeks later, their daughter pulled through. Two months after that, arriving at LA airport, she collapsed and underwent six hours of brain surgery at UCLA Medical Centre 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'. The result is an exploration of an intensely personal yet universal experience: a portrait of a marriage, and a life, in good times and bad.

(Book Jacket Status: Jacketed)
Joan Didion’s incomparable and distinctive essays and journalism are admired for their acute, incisive observations and their spare, elegant style. Now the seven books of nonfiction that appeared between 1968 and 2003 have been brought together into one thrilling collection.
Slouching Towards Bethlehem captures the counterculture of the sixties, its mood and lifestyle, as symbolized by California, Joan Baez, Haight-Ashbury. The White Album covers the revolutionary politics and the “contemporary wasteland” of the late sixties and early seventies, in pieces on the Manson family, the Black Panthers, and Hollywood. Salvador is a riveting look at the social and political landscape of civil war. Miami exposes the secret role this largely Latin city played in the Cold War, from the Bay of Pigs through Watergate. In After Henry Didion reports on the Reagans, Patty Hearst, and the Central Park jogger case. The eight essays in Political Fictions –on censorship in the media, Gingrich, Clinton, Starr, and “compassionate conservatism,” among others–show us how we got to the political scene of today. And in Where I Was From Didion shows that California was never the land of the golden dream.

In this Conradian masterpiece of American innocence and evil set in the fictional Central American country of Boca Grande, two American women face the harsh realities, political and personal, of living on the edge in a land with an uncertain future. Writing with her signature telegraphic swiftness, the author creates a terrifying commentary on an age of conscienceless authority.

The iconic writer whose prose was as influential and as it is unmistakably hers is joined in conversation with Sheila Heti, Hilton Als, Dave Eggers, Hari Kunzru and many more.
Some writers define a generation. Some a genre. Joan Didion did both, and much more. Didion rose to prominence with her nonfiction collection, Slouching Towards Bethlehem, and she quickly became the writer who captured the zeitgeist of the washed-out, acid hangover of the 60s. But as a bicoastal writer of fiction and nonfiction whose writing ranged from personal essays and raw, intimate memoirs to reportage on international affairs and social justice, Didion is much harder to pin down than her reputation might suggest.
This collection encompasses it all, in conversations that delve into her underappreciated mid-career works, her influences, the loss of her husband and daughter, and her most infamous essays. Far from the evasive, terse minimalist that has come to dominate the image of Joan Didion, what this collection reveals is a warm, thoughtful woman whose well earned legacy promises to live on for readers and writers for many generations to come.

In her moving and insightful new book, Joan Didion reassesses parts of her life, her work, her history and ours. A native Californian, Didion applies her scalpel-like intelligence to the state’s ethic of ruthless self-sufficiency in order to examine that ethic’s often tenuous relationship to reality.
Combining history and reportage, memoir and literary criticism,
explores California’s romances with land and water; its unacknowledged debts to railroads, aerospace, and big government; the disjunction between its code of individualism and its fetish for prisons. Whether she is writing about her pioneer ancestors or privileged sexual predators, robber barons or writers (not excluding herself), Didion is an unparalleled observer, and her book is at once intellectually provocative and deeply personal.

First published in 1979, "The White Album "is a journalistic mosaic" "of American life in the late 1960s and throughout the 1970s. It includes, among other bizarre artifacts and personalities, reportage on the dark journeys and impulses of the Manson family, a visit to a Black Panther Party press conference, the story of John Paul Getty's museum, a meditation on the romance of water in an arid landscape, and reflections on the swirl and confusion that marked this era. With commanding sureness of mood and language, Didion exposes the realities and dreams of an age of self-discovery whose spiritual center was California.
Table of Contents
I. THE WHITE ALBUM
"The White Album"
II. CALIFORNIA REPUBLIC
"James Pike, American"
"Holy Water"
"Many Mansions"
"The Getty"
"Bureaucrats"
"Good Citizens"
"Notes Toward a Dreampolitik"
III. WOMEN
"The Women's Movement"
"Doris Lessing"
"Georgia O'Keeffe"
IV. SOJOURNS
"In the Islands"
"In Hollywood"
"In Bed"
"On the Road"
"On the Mall"
"In Bogota"
"At the Dam"
V. ON THE MORNING AFTER THE SIXTIES
"On the Morning After the Sixties"
"Quiet Days in Malibu"

In Fixed Ideas Joan Didion describes how, since September 11, 2001, there has been a determined effort by the administration to promote an imperial America --a "New Unilateralism"-- and how, in many parts of America, there is now a "disconnect" between the government and citizens.
"[Americans] recognized even then [immediately after 9/11], with flames still visible in lower Manhattan, that the words 'bipartisanship' and 'national unity' had come to mean acquiescence to the administration's preexisting agenda --for example the imperative for further tax cuts, the necessity for Arctic drilling, the systematic elimination of regulatory and union protections, even the funding for the missile shield."
Frank Rich in his preface notes: "The reassuring point of the fixed ideas was to suppress other ideas that might prompt questions or fears about either the logic or hidden political agendas of those conducting what CNN branded as 'America's New War.'"
He adds, "This White House is famously secretive and on-message, but its skills go beyond that. It knows the power of narrative, especially a single narrative with clear-cut heroes and evildoers, and it knows how to drown out any distracting subplots before they undermine the main story."
Book and cover design by Milton Glaser, Inc.

In 1988, Joan Didion began looking at the American political process for The New York Review of Books . What she found was not a mechanism that offered the nation’s citizens a voice in its affairs but one designed by—and for—“that handful of insiders who invent, year in and year out, the narrative of public life.” The eight pieces collected here from The New York Review build, one on the other, to a stunning whole, a portrait of the American political landscape that tells us, devastatingly, how we got where we are today.
In Political Fictions , tracing the dreamwork that was already clear at the time of the first Bush ascendance in 1988, Didion covers the ways in which the continuing and polarizing nostalgia for an imagined America led to the entrenchment of a small percentage of the electorate as the nation’s deciding political force, the ways in which the two major political parties have worked to narrow the electorate to this manageable element, the readiness with which the media collaborated in this process, and, finally and at length, how this mindset led inexorably over the past dozen years to the crisis that was the 2000 election. In this book Didion cuts to the core of the deceptions and deflections to explain and illuminate what came to be called “the disconnect”—and to reveal a political class increasingly intolerant of the nation that sustains it.
Joan Didion’s profound understanding of America’s political and cultural terrain, her sense of historical irony, and the play of her imagination make Political Fictions a disturbing and brilliant tour de force.

Beautifully repackaged as part of the Picador Modern Classics Series, this special edition is small enough to fit in your pocket and bold enough to stand out on your bookshelf.
Celebrated, iconic, and indispensable, Joan Didion’s first work of nonfiction, Slouching Towards Bethlehem, is considered a watershed moment in American writing. First published in 1968, the collection was critically praised as one of the “best prose written in this country.”
More than perhaps any other book, this collection by one of the most distinctive prose stylists of our era captures the unique time and place of Joan Didion’s focus, exploring subjects such as John Wayne and Howard Hughes, growing up in California and the nature of good and evil in a Death Valley motel room, and, especially, the essence of San Francisco’s Haight-Ashbury, the heart of the counterculture. As Joyce Carol Oates remarked: “[Didion] has been an articulate witness to the most stubborn and intractable truths of our time, a memorable voice, partly eulogistic, partly despairing; always in control.”

A ruthless dissection of American life in the late 1960s, Play It as It Lays captures the mood of an entire generation, the ennui of contemporary society reflected in spare prose that blisters and haunts the reader. Set in a place beyond good and evil-literally in Hollywood, Las Vegas, and the barren wastes of the Mojave Desert, but figuratively in the landscape of an arid soul-it remains more than three decades after its original publication a profoundly disturbing novel, riveting in its exploration of a woman and a society in crisis and stunning in the still-startling intensity of its prose.

It focuses on such subjects as John Wayne and Howard Hughes, growing up a girl in California, ruminating on the nature of good and evil in a Death Valley motel room, and, especially, the essence of San Francisco's Haight-Ashbury, the heart of the counterculture.

From the best-selling author of the National Book Award-winning
two extended excerpts from her never-before-seen notebooks--writings that offer an illuminating glimpse into the mind and process of a legendary writer.
Joan Didion has always kept notebooks: of overheard dialogue, observations, interviews, drafts of essays and articles--and here is one such draft that traces a road trip she took with her husband, John Gregory Dunne, in June 1970, through Louisiana, Mississippi, and Alabama. She interviews prominent local figures, describes motels, diners, a deserted reptile farm, a visit with Walker Percy, a ladies' brunch at the Mississippi Broadcasters' Convention. She writes about the stifling heat, the almost viscous pace of life, the sulfurous light, and the preoccupation with race, class, and heritage she finds in the small towns they pass through.
And from a different notebook: the "California Notes" that began as an assignment from
on the Patty Hearst trial of 1976. Though Didion never wrote the piece, watching the trial and being in San Francisco triggered thoughts about the city, its social hierarchy, the Hearsts, and her own upbringing in Sacramento. Here, too, is the beginning of her thinking about the West, its landscape, the western women who were heroic for her, and her own lineage, all of which would appear later in her acclaimed 2003 book,

'An act of consummate literary bravery, a writer known for her clarity allowing us to watch her mind as it becomes clouded with grief.'
From one of America's iconic writers, a stunning book of electric honesty and passion. Joan Didion 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.
Several 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."