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Didion and Dunne reveled in a kind of starry Hollywood domesticity. They threw regular parties and were admirably modern in the raising of their daughter: Dunne would make breakfast for Quintana and take her to school in the mornings, while Didion would “get up, have a Coca-Cola, and start work.” They appeared in gossip columns along with the likes of Bianca Jagger, Paul Morrissey, and Linda Ronstadt. Throughout it all, Didion became the foremost prose stylist of her day. “She has created, in her books, one of the most devastating and distinctive portraits of modern America to be found in fiction or nonfiction—a portrait of America where ‘disorder was its own point,’” Michiko Kakutani wrote in The New York Times in 1979. “A gifted reporter with an eye for the telling detail—the frayed hem, the shaking hand—she is also a prescient witness, finding in her own experiences parallels of the times. The voice is always precise, the tone unsentimental, the view unabashedly subjective. She takes things personally.” Later in the same article, the Times noted that “Didion’s friends jokingly refer to her as the ‘Kafka of Brentwood Park,’ which amuses her husband no end.” Added Dunne: “Joan’s really a rather cheerful person who drives a bright yellow Corvette. In person, she doesn’t have a dark view of life. She just doesn’t expect a lot from it or from people.”
In 1972, she was diagnosed with multiple sclerosis, after experiencing periods of blindness in alternate eyes that lasted for up to six weeks at a time. “I had, at this time, a sharp apprehension not of what it was like to be old but of what it was like to open the door to the stranger and find that the stranger did indeed have the knife,” she would write of the diagnosis. “In a few lines of dialogue in a neurologist’s office in Beverly Hills, the improbable had become the probable, the norm: things which happened only to other people could in fact happen to me.” She lived with the disease in remission for most of her life, and told the Los Angeles Times that she never went to get further testing to prove or disprove the diagnosis when such technology became widely available, because “I hadn’t had a symptom since the early ’70s and it didn’t seem worth it to have an MRI to prove something I didn’t want to prove.” (“Mortality seems to be one of those things you confront over and over again without quite getting it,” she added.) In 1979 she published The White Album, another collection of her journalism from Life, Esquire, The New York Times, and the New York Review of Books; Martin Amis called her “the poet of the Great Californian Emptiness” in his (not altogether glowing) review of it for the London Review of Books.
In California, “on my own, turned loose in the world,” Didion published Slouching Towards Bethlehem (1968), a collection of her magazine pieces that The New York Times called “a rich display of some of the best prose written today in this country.” Time magazine sent the photographer Julian Wasser to capture her that year, perched on her “Daytona yellow” Corvette, dangling a cigarette. (She told Vogue in 2014 that the now-iconic pose—hair limp, eyes bright, cooly impassive, and that car—must have been a whim of Wasser’s; the photographer told Vogue that it wasn’t, and moreover, that “you don’t tell a woman like that what to do.”) She wrote her second novel, Play It as It Lays, in 1970, and the screenplay for it in 1971. She and Dunne then became in demand as script doctors, and wrote screenplays together, including The Panic in Needle Park, in 1971, and the Barbra Streisand and Kris Kristofferson version of A Star Is Born, in 1976.
Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get.
- Material Type: 35% Cotton – 65% Polyester
- Soft material feels great on your skin and very light
- Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes
- Taped neck and shoulders for comfort and style
- Print: Dye-sublimation printing, colors won’t fade or peel
- Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary
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