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*"The White Album" (1968–78) |
*"The White Album" (1968–78) |
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<blockquote>"The White Album" is an autobiographical literary essay detailing loosely related events in the author's life in the 1960s, primarily in Los Angeles, California. In the course of describing her ongoing psychological difficulties, Didion discusses [[Black Panther Party]] meetings, drug-related experiences, a [[The Doors|Doors]] recording session, various other interactions with LA musicians and cultural figures and several prison meetings with [[Linda Kasabian]], a former follower of [[Charles Manson]] who was testifying against the group for the grisly [[Sharon Tate]] murders. Tate had been an acquaintance of Didion's. The murder trial cast a cloud of fear over Hollywood that seemed to propel many of Didion's insights. The impression conveyed is one of a city and nation pervaded by paranoia and detachment.</blockquote><blockquote>[[Martin Amis]] wrote critically of the book:</blockquote><blockquote>[Didion] stands revealed, in ''The White Album,'' as a human being who has managed to gouge another book out of herself, rather than as a writer who gets her living done on the side, or between the lines. The result is a volatile, occasionally brilliant, distinctly female contribution to the new [[New Journalism]], diffident and imperious by turns, intimate yet categorical, self-effacingly listless and at the same time often subtly self-serving. She can still find her own perfect pitch for long stretches, and she has an almost embarrassingly sharp ear and unblinking eye for the Californian inanity. Seemingly obedient, though, to the verdicts of her psychiatric report, Miss Didion writes about everything with the same doom-conscious yet faintly abstract intensity of interest, whether remarking on the dress sense of one of [[Charles Manson|Manson’s]] henchwomen, or indulging her curious obsession with Californian waterworks in these pieces, Miss Didion’s writing does not "reflect" her moods so much as dramatise them. "How she feels" has become, for the time being, how it is.<ref>Amis, Martin (February 1980) [http://www.lrb.co.uk/v02/n02/martin-amis/joan-didions-style "Joan Didion's Style."] ''London Review of Books,'' Vol II No 2. Page 3-4. (Retrieved 10-16-2014.)</ref></blockquote> |
<blockquote>"The White Album" is an autobiographical literary essay detailing loosely related events in the author's life in the 1960s, primarily in Los Angeles, California. In the course of describing her ongoing psychological difficulties, Didion discusses [[Black Panther Party]] meetings, drug-related experiences, a [[The Doors|Doors]] recording session, various other interactions with LA musicians and cultural figures and several prison meetings with [[Linda Kasabian]], a former follower of [[Charles Manson]] who was testifying against the group for the grisly [[Sharon Tate]] murders. Tate had been an acquaintance of Didion's. The murder trial cast a cloud of fear over Hollywood that seemed to propel many of Didion's insights. The impression conveyed is one of a city and nation pervaded by paranoia and detachment.</blockquote><blockquote>[[Martin Amis]] wrote critically of the book:</blockquote><blockquote>''[Didion] stands revealed, in ''The White Album,'' as a human being who has managed to gouge another book out of herself, rather than as a writer who gets her living done on the side, or between the lines. The result is a volatile, occasionally brilliant, distinctly female contribution to the new [[New Journalism]], diffident and imperious by turns, intimate yet categorical, self-effacingly listless and at the same time often subtly self-serving. She can still find her own perfect pitch for long stretches, and she has an almost embarrassingly sharp ear and unblinking eye for the Californian inanity. Seemingly obedient, though, to the verdicts of her psychiatric report, Miss Didion writes about everything with the same doom-conscious yet faintly abstract intensity of interest, whether remarking on the dress sense of one of [[Charles Manson|Manson’s]] henchwomen, or indulging her curious obsession with Californian waterworks in these pieces, Miss Didion’s writing does not "reflect" her moods so much as dramatise them. "How she feels" has become, for the time being, how it is.''<ref>Amis, Martin (February 1980) [http://www.lrb.co.uk/v02/n02/martin-amis/joan-didions-style "Joan Didion's Style."] ''London Review of Books,'' Vol II No 2. Page 3-4. (Retrieved 10-16-2014.)</ref></blockquote> |
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===II. California Republic=== |
===II. California Republic=== |
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