The Year of Magical Thinking
A Play by Joan Didion Based on Her Memoir
-
-
4.0 • 55 Ratings
-
-
- $9.99
Publisher Description
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.
PUBLISHERS WEEKLY
Many will greet this taut, clear-eyed memoir of grief as a long-awaited return to the terrain of Didion's venerated, increasingly rare personal essays. The author of Slouching Towards Bethlehem and 11 other works chronicles the year following the death of her husband, fellow writer John Gregory Dunne, from a massive heart attack on December 30, 2003, while the couple's only daughter, Quintana, lay unconscious in a nearby hospital suffering from pneumonia and septic shock. Dunne and Didion had lived and worked side by side for nearly 40 years, and Dunne's death propelled Didion into a state she calls "magical thinking." "We might expect that we will be prostrate, inconsolable, crazy with loss," she writes. "We do not expect to be literally crazy, cool customers who believe that their husband is about to return and need his shoes." Didion's mourning follows a traditional arc she describes just how precisely it cleaves to the medical descriptions of grief but her elegant rendition of its stages leads to hard-won insight, particularly into the aftereffects of marriage. "Marriage is not only time: it is also, paradoxically, the denial of time. For forty years I saw myself through John's eyes. I did not age." In a sense, all of Didion's fiction, with its themes of loss and bereavement, served as preparation for the writing of this memoir, and there is occasionally a curious hint of repetition, despite the immediacy and intimacy of the subject matter. Still, this is an indispensable addition to Didion's body of work and a lyrical, disciplined entry in the annals of mourning literature.
