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Joan Didion : After Henry: Essays before purchasing it in order to gage whether or not it would be worth my time, and all praised After Henry: Essays:

2 of 2 people found the following review helpful. Didion is the queenBy CustomerAfter Henry is a gem. I depend on Didion to look under and around the public images she writes about. Her sentences on any subject give me clues as to how to look at all things.1 of 1 people found the following review helpful. Eclectically DidionBy Gma SaraThis collection of essays covers the waterfront by time and topic, but Didion brings to each her characteristic innocence and cynicism combined with personal knowledge of the events and acquaintance with the persons that inform her analyses.0 of 0 people found the following review helpful. Five StarsBy missyinI adore Joan Didion - will read anything written by her!

Incisive essays on Patty Hearst and Reagan, the jogger and the Santa Ana winds, from the New York Timesndash;bestselling author of South and West. In these eleven essays covering the national scene from Washington, DC; California; and New York, the acclaimed author of Slouching Towards Bethlehem and ldquo;capture[s] the mood of Americardquo; and confirms her reputation as one of our sharpest and most trustworthy cultural observers (). Whether dissecting the 1988 presidential campaign, exploring the commercialization of a murder, or reporting on the ldquo;sideshowsrdquo; of foreign wars, Joan Didion proves that she is one of the premier essayists of the twentieth century, ldquo;an articulate witness to the most stubborn and intractable truths of our timerdquo; (Joyce Carol Oates, The New York Times Book Review). Highlights include ldquo;In the Realm of the Fisher King,rdquo; a portrait of the White House under the stewardship of Ronald and , two ldquo;actors on location;rdquo; and ldquo;Girl of the Golden West,rdquo; a meditation on the Patty Hearst case that draws an unexpected and insightful parallel between the kidnapped heiress and the emigrants who settled California. ldquo;Sentimental Journeysrdquo; is a deeply felt study of New York media coverage of the brutal rape of a white investment banker in Central Park, a notorious crime that exposed the cityrsquo;s racial and class fault lines. Dedicated to Henry Robbins, Didionrsquo;s friend and editor from 1966 until his death in 1979, After Henry is an indispensable collection of ldquo;superior reporting and criticismrdquo; from a on whom we have relied for more than fifty years ldquo;to get the story straightrdquo; ( Times).

From Publishers WeeklyIn her first collection of essays since The White Album , Didion takes a look at the 1980s with her trademark style--at once languid and piercing--intact. Named for her former editor, the late Henry Robbins, who gave his "the image of self that enabled the writer to sit down and do it alone," the book compiles 11 pieces (primarily from the New York of Books and ) in which Didion revisits various locales and themes that have defined her own "idea of herself" as a writer. In a section on California--including piecess on Patty Hearst, the Los Angeles Times , the 1988 Hollywood writers' strike, and various seedy elements of what she calls "L.A. noir"--Didion offers trenchant observations on "California as opera." A long essay on and the Central Park jogger assault is a brilliant dissection of "the illusions of infinite recovery and growth on which the city had operated during the 1980s," and a reflection on how the crime came to be seen as "a way of expressing, without directly stating, different but equally volatile and similarly occult visions of the same disaster," themes that are constants in her fiction. But her opening section on Washington and politics shows Didion moving beyond older concerns, as well as beyond the journalistic problems that marred the superficial and the restrained . Her thoughts on "the narrative of public life"--including the way in which the Reagans "were the products of studio Hollywood, a system in which performers performed, and in return were cared for," and George Bush's "considerable attention toward improved visuals for the travelling press"--powerfully reveal how political narratives are made up of many "understandings, tacit agreements, small and large, to overlook the observable in the interests of obtaining a dramatic story line" whose only purpose is "the maintenance of itself." By venturing out of her familiar territory and into the complexities of national affairs, Didion proves that she is indeed one of America's premier political observers. Copyright 1992 Reed Business Information, Inc.From Library JournalEleven essays, mostly from the New York of Books and the New Yorker , are collected here in honor of Henry Robbins, an early, influential editor of Didion who died recently. The pieces zigzag through politics and the current events of the last decade, ranging from California to New York and taking aim at the power hungry, at sentimentality, at the manipulation of language. We see George Bush using a trip to Jordan as a "photo-op" to make him look like a man of action and reporters willing to do what politicans want in return for special privileges. The Bradley/Yaroslavsky mayoral race and the rape of a Central Park jogger lead Didion to discuss the characters of Los Angeles and New York City. Didion's journalistic essays are often considered her best writing, and this representative sample will be appreciated by readers who like newsworthy reading.- Nancy Shires, East Carolina Univ., Greenville, N.C.Copyright 1992 Reed Business Information, Inc.From Kirkus sDidion's latest collection of previously published articles- -her first since The White Album (1979)--reminds us that she's truly one of the premier essayists of our time. For all the disconnectedness she discerns throughout our public life, her prose, in its very complexity, beautifully plays against her subjects. In these pieces, mostly from The New York of Books and The New Yorker, Didion artfully points out the ``chasm'' between ``actual life and its preferred narratives.'' Organized by place (Washington, D.C.; L.A.; New York), these carefully structured essays help define the culture of our cities, which is otherwise distorted by self-reference and a complicit media. Writing about Reagan-era tell-all books, Didion recasts the Great Communicator as the Fisher King, the keeper of the right- revolutionary grail. On the 1988 campaign trail, she watches a moveable ``set,'' a series of staged events that reveal ``contempt for outsiders'' (i.e., average citizens). In California, Didion documents the ``protective detachment'' that's become part of the frontier legacy. Patty Hearst's survival instinct makes her a typical West Coast girl, as pragmatic as those who live with earthquake jitters. Narrative conflict emerges in Didion's account of the 1988 Screen Guild writers' strike, during which the industry's hierarchy reasserted itself. Likewise, the L.A. mayoral race of 1989 exposed the class and race struggles that everyone in that city would rather ignore. The longest piece here concerns the Central Park Jogger, ``a sacrificial player in the sentimental narrative that is New York public life.'' Like her essay on the ``Cotton Club'' murder, this stunning bit of meta-analysis proves Didion's contention that every crime--to be of larger interest--needs ``a story, a lesson, a high concept.'' When the theoretical clashes with the empirical, she says, narrative takes over, distorting, transforming, ameliorating. For Didion, truth is in the details, arranged so precisely in her seemingly candid prose. A collection to savor by a stylist in top form. -- Copyright copy;1992, Kirkus Associates, LP. All rights reserved.

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