Последние издания книг Джоан Дидион

«Ползут, чтоб вновь родиться в Вифлееме» — это сборник эссе, написанных Джоан Дидион на протяжении 1960-х годов для различных периодических изданий и сыгравших важнейшую роль в становлении «новой журналистики». В них Джоан Дидион, лауреатка Национальной книжной премии, запечатлела тектонический сдвиг, произошедший во всех сферах жизни США 1960-х годов. Название сборнику и одному из очерков в нем дала строка из стихотворения У. Б. Йейтса «Второе пришествие» (1919), исполненного предчувствия катастрофы — появления на свет не спасителя, но чудовища, вызванного к жизни разладом и хаосом стремительно меняющегося мира. «Ползут, чтоб вновь родиться в Вифлееме» — это пронизанный ужасом перед распадом старого мира и при этом пытливый и чуткий репортаж о мире новом, свидетельство вовлеченного наблюдателя об уникальном десятилетии в американской истории, противоречивое эхо которого продолжает звучать до сих пор.

Дидион приглашает читателей заглянуть в головокружительную пропасть, разделяющую поколение хиппи, глотающих кислоту в районе Хейт-Эшбери в Сан-Франциско в преддверии «лета любви», и поколение Джона Уэйна, звезды голливудских вестернов, чей век безвозвратно уходит. Балансируя между иронией и сочувствием, Дидион резкими и точными мазками пишет яркие портреты не только отдельных людей: миллиардера-затворника Говарда Хьюза, фолк-певицы и активистки Джоан Баэз — но и мест на карте (Лас-Вегаса, Нью-Йорка, Гавайев, Южной Калифорнии и других), представляя сложный образ Америки, одновременно пугающий и нежный, зловещий, узнаваемо авторский, обжитой и очень личный.
Джоан Дидион (род. 1934) — американская писательница, журналистка, эссеистка, сценаристка. Родилась и выросла в Сакраменто, Калифорния. Писала очерки для Vogue, Life, Esquire, The Saturday Evening Post, The New York Times и других периодических изданий, выработав яркий индивидуальный стиль в эссеистике. За автобиографическую книгу «Год магического мышления», посвященную переживанию утраты близкого человека, писательница была удостоена Национальной книжной премии и премии Медичи.
Перевод с английского Елены Смотровой под редакцией Анастасии Каркачевой и Лии Эбралидзе.

Introducing the Collins Modern Classics, a series featuring some of the most significant books of recent times, books that shed light on the human experience - classics which will endure for generations to come.
A single person is missing for you, and the whole world is empty

John Gregory Dunne and Joan Didion saw their daughter fall ill. At first they thought it was flu, then she was placed on life support. Days later, the Dunnes were sitting down to dinner when John suffered a massive and fatal coronary.
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'. The result is a personal yet universal portrait of marriage and life, in good times and bad, from one of the defining voices of American literature.

From one of our most iconic and influential writers: 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.

Here are six pieces written in 1968 from the "Points West" Saturday Evening Post column Joan Didion shared from 1964 to 1969 with her husband, John Gregory Dunne about: American newspapers; a session with Gamblers Anonymous; a visit to San Simeon; being rejected by Stanford; dropping in on Nancy Reagan, wife of the then-governor of California, while a TV crew filmed her at home; and an evening at the annual reunion of WWII veterans from the 101st Airborne Association at the Stardust Hotel in Las Vegas. Here too is a 1976 piece from the New York Times magazine on "Why I Write"; a piece about short stories from New West in 1978; and from The New Yorker, a piece on Hemingway from 1998, and on Martha Stewart from 2000. Each one is classic Didion: incisive, bemused, and stunningly prescient.

“Год магического мышления” — правдивый и горький рассказ о переживании утраты. Джоан Дидион описывает, как она прожила год после скоропостижной смерти мужа, с которым она была вместе сорок лет. Ее мучает один вопрос: могла ли она как-то повлиять на случившееся, могла ли распознать знаки, которые расставляла судьба? Или это были не знаки? Она подмечает в себе признаки магического мышления и пытается разобраться со своим сознанием, своим восприятием, своей памятью.

Joan Didion has always kept notebooks: of overheard dialogue, observations, interviews, drafts of essays and articles

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 Rolling Stone 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.

A profoundly disturbing novel that ruthlessly dissects American life in the late 1960s, from the author of The White Album and The Year of Magical Thinking.
Benny called for a round of Cuba Libres and I gave him some chips to play for me and went to the ladies' room and never came back.
Somewhere out beyond Hollywood, hollowed-out actress Maria Wyeth's life plays out in a numbing routine of perpetual freeway driving. In her early thirties, divorced from her husband, dislocated from friends, anesthetized to pain and please, Wheth is a woman who has run out of both desires and motives - the epitome of a generation made ill by too much freedom.

From one of the most important chroniclers of our time, come 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 articlesHere 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 Rolling Stone 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.

Upon its publication in 1968, Slouching Towards Bethlehem confirmed Joan Didion as one of the most prominent writers on the literary scene. Her unblinking vision and deadpan tone have influenced subsequent generations of reporters and essayists, changing our expectations of style, voice, and the artistic possibilities of nonfiction. "In her portraits of…

WE TELL OURSELVES STORIES IN ORDER TO LIVE

Looking for plausible stories as the Sixties are about to implode, Joan Didion sets out, notebook in hand, on a now-legendary journey into the hinterland of the American psyche: she kills time waiting for Jim Morrison to show up, parties with Janis Joplin, visits the Black Panthers in prison, watches a campus combust, dines with Tate and Polanski, buys dresses with Charlie Manson's girls, and gravitates towards biker movies 'because there on screen was some news I was not getting from the New York Times'. She and her reader emerge, cauterized, from this devastating tour of the myths and realities of that age of self-discovery into the harsh light of the morning after

From the best-selling author of the National Book Award-winning The Year of Magical Thinking 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…