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The Year of Magical Thinking: The Play
 
 
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The Year of Magical Thinking: The Play [Paperback]

Joan Didion (Author)
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Book Description

May 15, 2007
“this happened on December 30, 2003. That may seem a while ago but it won’t when it happens to you . . .”

In this dramatic adaptation of her award-winning, bestselling memoir (which Michiko Kakutani in The New York Times called “an indelible portrait of loss and grief . . . a haunting portrait of a four-decade-long marriage), 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.

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.

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About the Author

Joan Didion was born in California and lives in New York City. She is the author of five novels and seven previous books of nonfiction.

Joan Didion's Where I Was From, Political Fictions, The Last Thing He Wanted, After Henry, Miami, Democracy, Salvador, A Book of Common Prayer, and Run River are available in Vintage paperback.

Excerpt. © Reprinted by permission. All rights reserved.

1

This happened on december 30, 2003. That may seem a while ago but it won't when it happens to you.

And it will happen to you. The details will be different, but it will happen to you.

That's what I'm here to tell you.



We had come home. "Home" meaning an apartment on the Upper East Side of Manhattan. Early evening, maybe eight o'clock. We discussed whether to go out or eat in. I said we could stay in, I would build a fire.

The fire was the point.

In California we heated our houses by building fires. In Malibu we built fires even on summer evenings, because the fog came in. Fires said we were home, we had drawn the circle, we were safe through the night.

I built the fire. I drew the circle.

I have no memory of what I meant to have for dinner.



Memory stops. The frame freezes. You'll find that's something that happens.

I warned you. I'm telling you what you need to know.

You see me on this stage, you sit next to me on a plane, you run into me at dinner, you know what happened to me.

You don't want to think it could happen to you.

That's why I'm here.



John was in his office. I got him a drink. He sat down by the fire to read. He was reading a bound galley of David Fromkin's Europe's Last Summer: Who Started the Great War in 1914? I set the table in the living room, where we could see the fire.



I must have noticed that later. The name of the book. I eventually read it myself, but found no clues.



Wait. I was telling you what happened.



He wanted a second drink. I got it. He asked if I had used single-malt scotch for the second drink. I said I had used whatever I used for the first drink. "Good," he said. "I don't know why but I don't think you should mix them."



I was at the table, making a salad. He was sitting across from me, talking. Either he was talking about why World War One was the event from which the entire rest of the twentieth century flowed or he was talking about the scotch, I have no idea which.



Then he wasn't. Wasn't talking.



I looked up. I said, "Don't do that." I thought he was making a joke.

Slumping over. Pretending to be dead. You've seen people make that kind of tiresome joke. Maybe you've done it yourself. Meaning "this was a hard day, we got through it, we're having dinner, we've got a fire."



In fact neither of us had yet said out loud how hard that day had been.



My next thought was that he had started to eat and choked. I tried to move him so I could do the Heimlich.

He fell onto the table, then to the floor. There was a dark liquid pooling beneath his face.

Within what I now know to have been exactly five minutes, two ambulances came. The crews worked on the living room floor for what I now know to have been exactly forty-five minutes.



I now know these facts because I obtained the documents. I obtained the Emergency Department Nursing Documentation Sheet. I obtained the Nursing Flow Chart. I obtained the Physician's Record. I obtained the log kept by the doormen in our building."Paramedics arrived at 9:20 PM for Mr. Dunne," the log read."Mr. Dunne was taken to the hospital at 10:05 PM."



The distance from our apartment to the ambulance entrance of New York Cornell is six crosstown blocks. I do not remember traffic. I do not remember sirens. When I got out of the ambulance the gurney was already being pushed inside. Everyone was in scrubs. I noticed one man who was not in scrubs. "Is this the wife," he said to the driver. Then he looked at me. "I'm your social worker."



And I guess that was when I knew.



That's something else to remember. If they give you a social worker, you're in trouble.



Life changes fast.

Life changes in the instant.

You sit down to dinner and life as you know it ends.

The question of self-pity.



Those were the first words I wrote after it happened.

And after that--

I'm a writer--

But after that I didn't write anything for a long while.



For several weeks after it happened I tried different strategies for keeping on the correct track. One that worked for a while was repeating to myself the last two lines of "Rose Aylmer," Walter Savage Landor's 1806 elegy to the memory of a daughter of Lord Aylmer's who had died at age twenty in Calcutta. I had not thought of "Rose Aylmer" since I was at Berkeley, but now I could remember not only the poem but much of what was said about it in whichever class I heard it analyzed. "Ah what avails the sceptred race!" it begins. "Ah what the form divine! When every virtue, every grace, Rose Aylmer, all were thine!" "Rose Aylmer" worked, the lecturer said, because the overblown and therefore meaningless praise in those first lines gets thrown into sudden, even shocking relief by what he called "the hard sweet wisdom" of the last, which suggest that grief has its place but also its limits: "A night of memories and sighs / I consecrate to thee."

"A night of memories and sighs," he repeated. "A night. One night. It might be all night but he doesn't say all night, he says a night, not a matter of a lifetime, a matter of some hours."

Hard sweet wisdom. Clearly, since "Rose Aylmer" remained embedded in my memory, I believed it to offer a lesson for survival.



2

I told you I knew when I saw the social worker but I didn't really.

Or more correctly--"correctly" is important to me--I knew but I refused to know.

There's a certain kind of personality--my own, maybe yours--that sets great store on seeing it straight. For certain of us this is a big ego point.

You might think you'll see it straight but you won't.

You'll be standing in some ER and at one level you'll have a pretty clear idea of whatever it was that just happened but you'll see it as a kind of first draft.



Notice the evasion there. "Whatever it was that just happened." The actual words will have vanished from your accessible vocabulary. The only words at hand will have to do with how this can be corrected.

Reversible error.

If you're a lawyer you're probably thinking she doesn't know what "reversible error" means, but I do.

There was a verdict here. Find the right error and the verdict gets thrown out.

And errors are easy to find.

If you're me.

For example this is the wrong hospital.

This is a perfectly good hospital but it's not "our" hospital. It's New York Presbyterian Cornell. "Our" hospital is New York Presbyterian Columbia, a hundred blocks uptown. So while I stand in line to show the insurance cards--nobody told me to stand in this line but I see it as a constructive step, proof that I'm handling the situation--I tell myself that as soon as he is stabilized I can move him to Columbia.



He will need a bed with telemetry. When I arrange the move I need to specify this.



Notice that only "I" can do this. I do not distrust those in charge here, but I do feel compelled to manage them.



I go further. I see a plan falling into place. Once Quintana is stabilized I can also move her to Columbia.



Maybe I didn't mention this before.

New York Cornell is not our first hospital of the evening.

The first hospital of the evening was Beth Israel North. You know, the one that used to be Doctors' Hospital. Across from Gracie Mansion. Where our daughter has been in an induced coma in the sixth-floor ICU since Christmas night with what began as the flu and is now septic shock.



Another case of the wrong hospital.

From my point of view.

But just try telling a grown child that the easiest emergency room on the Upper East Side doesn't necessarily add up to the right hospital.



Try telling her anything, once they sedate her for the endotracheal tube.



Must you always have the last word, John said when we fought.Which was often. Must you always be right. For once in your life just let it go.



When we saw her tonight in the ICU her hair was damp and matted from the fever. No one seems to have brushed it. I have been trying to brush it since the day after Christmas but cannot. I could always brush her hair. I could brush her hair even in Malibu, when it was long and bleached from the sun and green from the chlorine in swimming pools and she had been in the water all day. She would come up from the beach and John would wrap her in towels on the deck outside his office and I would brush her hair.

"I love you more than even one more day," he said to her tonight in the ICU.

He said that on each of the five nights he saw her there.

On the chance she could hear.

He said it tonight just before we came home and discussed whether to go out for dinner or eat in. Just before I built the fire--



No.

The lights are too bright in this hospital. It's too cold.

If I hold focus I can arrange for both of them to recuperate at Columbia. Adjoining rooms. The McKeen Pavilion. I can go up in the afternoons and have tea with them in the atrium while the volunteer pianist in scrubs plays "Isn't It Romantic." I can stay until eight and the car will be waiting and I'll come downtown and build a fire and make myself a hamburger. I'll think about John and Quintana in their adjoining rooms but I'll still have a fire and I'll still eat the hamburger and I'll still watch Chris Matthews on rerun.



Because I will have arranged for them to be safe. I will have brought in the appropriate specialists. I will have made sure that each of these specialists appreciates the entire picture. I w...

Product Details

  • Paperback: 62 pages
  • Publisher: Vintage (May 15, 2007)
  • Language: English
  • ISBN-10: 0307386414
  • ISBN-13: 978-0307386410
  • Product Dimensions: 5.2 x 0.2 x 8 inches
  • Shipping Weight: 4 ounces (View shipping rates and policies)
  • Average Customer Review: 2.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #177,915 in Books (See Top 100 in Books)

More About the Author

Joan Didion was born in California and lives in New York City. She is the author of five novels and seven previous books of nonfiction. Joan Didion's Where I Was From, Political Fictions, The Last Thing He Wanted, After Henry, Miami, Democracy, Salvador, A Book of Common Prayer, and Run River are available in Vintage paperback.

 

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23 of 23 people found the following review helpful:
4.0 out of 5 stars Privately Grieving Publicly..., May 27, 2007
This review is from: The Year of Magical Thinking: The Play (Paperback)
The Year of Magical Thinking a Play by Joan Didion is based on her memoir. This play gives you a voyeuristic journey inside a woman's grief. Ms. Didion, a noted author and playwright lost her husband in 2003. Within a short period of time, less than two years later, she would also lose her daughter. That kind of loss is unimaginable to most people. We all have experiences with losing loved-ones, but rarely two in such a short span of time. Ms. Didion's prose is written quite sparely and almost from a distance but it is no less wrenching. She appears to view her pain from a distance while feeling the full impact of it.

The play starts out with this passage; This happened on December 30, 2003. That may seem a while ago but it won't when it happens to you. And it will happen to you. The details will be different, but it will happen to you. That's what I am here to tell you. I felt those words down in my very being. Though the words were simple, they were poignant, heartfelt and oh so true. Anyone who has ever lost a loved one will feel the impact of her prose.

After her husband John Dunne passes, Joan appears to be in a state of suspended expectation. The most difficult thing for her to accept is that he is not coming home. In fact for many weeks she expects him to return. It's sad to read how hard it is to accept her lost.

Shortly thereafter when her daughter becomes ill, she has something else to be concerned with. She immerses herself in research about her daughter's illness to try to fill the void in her life. It is wrenching yet dispassionate in so many ways reading about her daughter's illness and ultimate demise. Ms. Didion has exposed her love and pain in an amazing way.

In sixty-two pages this play takes us through a roller coaster of feelings. What impacted me so was how the words were never overwrought, but so strongly felt. I loved the way she evaluated the relationship she had with both her husband and her daughter. The simple what-if-onlys. The Year of Magical Thinking allowed me to realize there is no set way to grieve and that we all react differently. I recommend this play and the aforementioned memoir to Joan Didion fans and to anyone who has experienced the loss of a loved one.
Angelia Menchan
[...]


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12 of 12 people found the following review helpful:
5.0 out of 5 stars About the moments that can change lives, July 18, 2007
By 
This review is from: The Year of Magical Thinking: The Play (Paperback)
The Year of Magical Thinking possesses hauntingly concise prose. It is a one-woman show that reads like having a conversation with Didion. The telling is intimate enough to make it feel as if it is an older and wiser sister telling you what you may likely confront in your lifetime. It is detailed enough to make tangible for theatergoers in New York City and Los Angeles face what one wishes was unimaginable. It is phenomenal enough to show why Didion is one of the best writers of our times and that there is seemingly nothing that she fails to find the words for.

That there will be a moment in time when you feel unquestionably safe--and the moment following, one of the most important people in your life may pass on. She tells the reader about how she handled the passing of her husband as a journey--from being the cool, methodical thinker, as his passage from this life was confirmed, to being unable to give away his shoes because he would need them when he came back, to being able to come to terms with his absence.

Her daughter fell ill before her husband passed. While her daughter is in the hospital in California, Joan Didion faces more than treading on doctors' toes and doing everything possible to pull her daughter through the illness. She also faces streets full of memories ready to take her away into magical thinking. In order to keep away from the memories, she takes well-planned routes from her hotel room to her daughter's hospital room. Didion tells the story of seeing her daughter come out of illness, and then being unable to protect her from falling ill again, and her passage from this life.

The play is not filled with an overwhelming sense of hope, but hope still finds a home in the play. While reading it I couldn't help but think of those I know who have passed on and how I would handle it if my own husband and daughter were to pass out of this life before me. I imagined the unbearable grief as I read. By the end of the play I could feel how to make it through, to survive something that one would rather not.

Armchair Interviews says: It is that quiet, affirming hope that Didion's play possesses.
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6 of 10 people found the following review helpful:
1.0 out of 5 stars Too much thinking, too little magic, July 7, 2009
By 
dc in DC (Washington DC) - See all my reviews
This review is from: The Year of Magical Thinking: The Play (Paperback)
My review is actually based on seeing the play recently here in DC. I found it interesting that one can receive either the play or the book with such dramatically divergent reactions. I would say my theater-going experience was quite in line with several of the negative comments about the book--

Sorry, but all I could think after seeing it was that every event in our lives isn't necessarily worthy of being turned into a play. There was no substantial message here and little entertainment value. The two plot lines - her husband's death and daughter's illness left you feeling that not enough time was devoted to either- just making the play seem flat or empty.

I'm sorry for her loss, but watching her go on and on about it was painful. It was more of a recitative of the agonizing details of the death and the days that followed. There was no breakthrough moment, no ups and downs to her monologue- just the same thing- did she ever get over it? At times it didn't seem as if she even really liked her husband. She expressed typical motherly sentiments about the daughter, but you weren't really convinced. It was as if there was more to their relationship than she was telling you, and that, whatever it was, it wasn't pleasant. My mother died in February, and I thought this play might have been in some way meaningful to me. It just wasn't...
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