Jenny Diski

A collection of the best of the indomitable Jenny Diski's essays, "one of the great anomalies of contemporary literature" (The New York Times Magazine), selected by London Review of Books editor Mary-Kay Wilmers. "She expanded notions about what nonfiction, as an art form, could do and could be." --New Yorker Jenny Diski was a fearless writer, for whom no subject was too difficult, even her own cancer diagnosis. Her columns in the London Review of Books--selected here by her editor and friend Mary-Kay Wilmers, on subjects as various as death, motherhood, sexual politics and the joys of solitude--have been described as "virtuoso performances," and "small masterpieces." From Highgate Cemetery to the interior of a psychiatric hospital, from Tottenham Court Road to the icebergs of Antarctica, Why Didn't You Just Do What You Were Told? is a collective interrogation of the universal experience from a very particular psyche: original, opinionated--and mordantly funny.

Essays

Why Didn’t You Just Do What You Were Told?

In spite of the fact that her idea of travel is to stay home with the phone off the hook, Jenny Diski takes a trip around the perimeter of the USA by train. Somewhat reluctantly she meets all kinds of characters, all bursting with stories to tell and finds herself brooding about the marvellously familiar landscape of America, half-known already through film and television. Like the pulse of the train over the rails, the theme of the dying pleasures of smoking thrums through the book, along with reflections on the condition of solitude and the nature of friendship and memories triggered by her past times in psychiatric hospitals. Cutting between her troubled teenaged years and contemporary America, the journey becomes a study of strangers, strangeness and estrangement - from oneself, as well as from the world.

Stranger on a Train

“Mysterious, beguiling, and quietly radical, readers everywhere are lucky to live in a moment when they can discover, or rediscover, her eccentric charm.” -- Alexandra Kleeman, author of Intimations *Named a Kirkus Reviews Best Book of 2017* WITH A PREFACE BY HEIDI JULAVITS, AUTHOR OF THE FOLDED CLOCK The only story collection from the beloved Jenny Diski—darkly funny, subversive, sexy, and eccentric tales from one of the most original and intelligent voices of our time. Jenny Diski’s prose is as sharp and steely as her imagination is wild and wondrous. When she died of cancer in April 2016, after chronicling her illness in strikingly honest essays in the London Review of Books, readers, admirers, and critics around the world mourned the loss. In a cool and unflinching tone that came to define her singular voice, she explored the subjects of sex, power, domesticity, femininity, hysteria, and loneliness with humor and honesty, The stories in The Vanishing Princess showcase a rarely seen side of this beloved writer, channeling both the piercing social examination of her nonfiction and the vivid, dreamlike landscapes of her novels. In a Rumpelstiltskin fairy tale turned on its head, a miller’s daughter rises to power and wealth to rule over her kingdom and outwit the title villain. “Bathtime” tells the story of a woman’s life through her attempts to build the perfect bathtub, chasing an elusive moment of peace. In “Short Curcuit,” the author mines her own bouts in and out of mental institutions outside London to question whether those we think are mad are really the sanest among us. Longtime fans of Diski and those who have discovered her since her death will find much to treasure here, in her only short story collection, released in the US for the very first time. The Vanishing Princess is another vital stop on Jenny Diski’s journey for meaning and beauty in her prolific writing, one that feels as fresh and necessary as if it were brand-new.

Stories

The Vanishing Princess

The future flashed before my eyes in all its pre-ordained banality. Embarrassment, at first, to the exclusion of all other feelings. But embarrassment curled at the edges with a weariness ... I got a joke in. “So – we'd better get cooking the meth,” I said to the Poet. In July 2014, Jenny Diski was diagnosed with inoperable lung cancer and given “two or three years” to live. She didn't know how to react. All responses felt scripted, as if she were acting out her part. To find the response that felt wholly her own, she had to face the cliches and try to write about it. And there was another story to write, one she had not yet told: that of being taken in at age fifteen by the author Doris Lessing, and the subsequent fifty years of their complex relationship. In the pages of the London Review of Books, to which Diski contributed for the last quarter century, she unraveled her history with Lessing: the fairy-tale rescue as a teenager, the difficulties of being absorbed into an unfamiliar family, the modeling of a literary life. Swooping from one memory to the next-alighting on the hysterical battlefield of her parental home, her expulsion from school, the drug-taking twenty-something in and out of psychiatric hospitals -- and telling all through the lens of living with terminal cancer, through what she knows will be her final months, Diski paints a portrait of two extraordinary writers -- Lessing and herself. From a wholly original thinker comes a book like no other: a cerebral, witty, dazzlingly candid masterpiece about an uneasy relationship; about memory and writing, ingratitude and anger; about living with illness and facing death.

In Gratitude

Apology for the woman writing

A brilliant, alternative take on sixties swinging London, Jenny Diski offers radical reconsiderations of the social, political, and personal meaning of that turbulent era. What was Jenny Diski doing in the sixties? A lot: dropping out, taking drugs, buying clothes, having sex, demonstrating, and spending time in mental hospitals. Now, as Diski herself turns sixty years old, she examines what has been lost in the purple haze of nostalgia and selective memory of that era, what endures, and what has always been the same. From the vantage point of London, she takes stock of the Sexual Revolution, the fashion, the drug culture, and the psychiatric movements and education systems of the day. What she discovers is that the ideas of the sixties often paved the way for their antithesis, and that by confusing liberation and libertarianism, a new kind of radicalism would take over both in the UK and America. Witty, provocative, and gorgeously written, Jenny Diski promises to feed your head with new insights about everything that was, and is, the sixties.

The Sixties

Sardonically funny and moving, Skating to Antarctica is a book about a journey into darkness and light, the colour white, fantasy and memory, families and sanity.

Skating to Antarctica

A Divine Comedy

Only Human

When Mimi discovered an unconscious bag lady huddled behind a London cinema, a sense of duty prompted her to call an ambulance. Later, she wondered if the tramp, who could have been anybody, might not be somebody after all. Could she be her abandoning mother? Or Bella, a bomb-blast victim?

The Dream Mistress

What does Jenny Diski know about animals? She’s really not sure. There is, however, one thing of which she is certain: our relationships with and attitudes to animals are really worth thinking about. In What I Don’t Know About Animals, she shows why.She sets out to investigate what she does and doesn't know about animals. She remembers the stuffed cuddly creatures from her childhood; the animal books she read; the cartoons she watched; the strays she found; the animals who have lived and still live with her; the animals she has observed close up, and those she has feared. She examines human beings, too, and the way in which they have looked at, studied, treated and written about the non-human creatures with whom we share the planet. Subtle, intelligent and brilliantly observed, What I Don’t Know About Animals is an engaging look at what it means to be human ? and what it means to be animal.

What I Don't Know about Animals

Susan Sontag

Joyce Carol Oates

Virginia Woolf

Judith Ortiz Cofer

Jamaica Kincaid

Joan Didion

Elizabeth David

Annie Dillard

M. F. K. Fisher

Gretel Ehrlich

Anne Fadiman

Elizabeth Hardwick

Cynthia Ozick

Margaret Cavendish

Rebecca West

Alice Walker

Linda Hogan

Zora Neale Hurston

Elizabeth Bowen

Fanny Fern

Eliza Haywood

Sara Suleri

Grace Greenwood

Charlotte Lennox

Margaret Fuller

Vernon Lee

Eliza Lynn Linton

Kyoko Mori

Lydia Maria Child

Lady Mary Wortley Montagu

Harriet Martineau

Gail Hamilton

Frances Brooke

Mary Russell Mitford

Frances Power Cobbe

Zitkala-Sa

Alice Meynell

Louise Imogen Guiney

Ann Plato

Agnes Repplier

Katharine Fullerton Gerould

Judith Sargent Murray

Elisabeth Woodbridge Morris

Gertrude Bustill Mossell

Hester Lynch Thrale Piozzi

Of Women and the Essay brings together forty-six American and British women essayists whose work spans nearly four centuries. The contributions of these essayists prove that women have been significant participants in the essay tradition since the genre’s modern beginnings in the sixteenth century. Many of these essayists, such as Eliza Haywood, Fanny Fern, Gertrude Bustill Mossell, Agnes Repplier, and Alice Meynell, achieved significant success as writers within whatever essay form ruled the day; others bent the rules, though often imperceptibly, to make room for themselves. Collectively they represent a missing piece in the larger history of the essay. In Of Women and the Essay Jenny Spinner contextualizes the broad range of literary essays included within the chronological development of the genre. She makes a compelling argument that women have constructed their own tradition in the essay genre, often utilizing periodic traits of the essay to their own advantage. At the same time, she suggests that the personal essay’s demands on the essayist required both a public and personal authorization that proved challenging for women essayists in general and for women of color in particular. The appendix catalogs the works of nearly 200 female essayists and should inspire further reading. As a whole, the volume lifts women writers from the cutting-room floor of essay scholarship and returns them to their rightful place in the essay canon.

An Anthology from 1655 to 2000

Of Women and the Essay

Happily Ever After

This travel journal traces a personal journey to Antarctica. For over 30 years Jenny Diski was content to leave the question as to whether her mother was alive or dead unanswered. Not knowing the fate of the violent woman she last saw shortly after her father's death in 1966 filled her with a sense of relief rather than of loss. Then, just as Diski is planning a trip to the dream world of ice, her own teenage daughter decides to investigate what had happened to her crazy, missing maternal grandmother.

Like Mother

Rainforest

Explores the complex relationship between humans and animals by examining philosophical, scientific, and literary material.

'We were on a train, out of the way of our lives, any of us could tell anything we liked. We were, for the time being, just the story we told.'In spite of the fact that her idea of travel is to stay home with the phone off the hook, Jenny Diski takes a trip around the perimeter of the USA by train.Somewhat reluctantly, she meets all kinds of characters, all bursting with stories to tell, and finds herself brooding about the marvellously familiar landscape of America, half-known already through film and television. Like the pulse of the train over the rails, the theme of the dying pleasures of smoking thrums through the book, along with reflections on the condition of solitude and the nature of friendship and memories triggered by her past time in psychiatric hospitals.Cutting between her troubled teenaged years and contemporary America, the journey becomes a study of strangers, strangeness and estrangement - from oneself, as well as from the world.

'Nothing about Jenny Diski is conventional. Diski does not do linear, or normal, or boring ... highly intelligent, furiously funny' Sunday Times 'Funny, heartbreaking, insightful and wise' Emilia Clarke 'She expanded notions about what nonfiction, as an art form, could do and could be' New Yorker Jenny Diski was a fearless writer, for whom no subject was too difficult, even her own cancer diagnosis. Her columns in the London Review of Books – selected here by her editor and friend Mary-Kay Wilmers, on subjects as various as death, motherhood, sexual politics and the joys of solitude – have been described as 'virtuoso performances', and 'small masterpieces'. From Highgate Cemetery to the interior of a psychiatric hospital, from Tottenham Court Road to the icebergs of Antarctica, Why Didn't You Just Do What You Were Told? is a collective interrogation of the universal experience from a very particular psyche: original, opinionated – and mordantly funny.

Many books have been written on the Sixties: tributes to music and fashion, sex, drugs and revolution. In The Sixties, Jenny Diski breaks the mould, wryly dismantling the big ideas that dominated the era - liberation, permissiveness and self-invention - to consider what she and her generation were really up to. Was it rude to refuse to have sex with someone? Did they take drugs to get by, or to see the world differently? How responsible were they for the self-interest and greed of the Eighties? With characteristic wit and verve, Diski takes an incisive look at the radical beliefs to which her generation subscribed, little realising they were often old ideas dressed up in new forms, sometimes patterned by BIBA. She considers whether she and her peers were as serious as they thought about changing the world, if the radical sixties were funded by the baby-boomers' parents, and if the big idea shaping the Sixties was that it really felt as if it meant something to be young.

National Book Critics Circle Award Finalist A New York Times Notable Book of the Year "Transcendently disobedient, the most existence-affirming and iconoclastic defense a writer could mount against her own extinction." --Heidi Julavits, New York Times Book Review From "one of the great anomalies of contemporary literature" (The New York Times Magazine) comes a breathtaking memoir about terminal cancer and the author's relationship with Nobel Prize winner Doris Lessing. In July 2014, Jenny Diski was diagnosed with inoperable lung cancer and given "two or three years" to live. She didn't know how to react. All responses felt scripted, as if she were acting out her part. To find the response that felt wholly her own, she had to face the clichés and try to write about it. And there was another story to write, one she had not yet told: that of being taken in at age fifteen by the author Doris Lessing, and the subsequent fifty years of their complex relationship. In the pages of the London Review of Books, to which Diski contributed for the last quarter century, she unraveled her history with Lessing: the fairy-tale rescue as a teenager, the difficulties of being absorbed into an unfamiliar family, the modeling of a literary life. Swooping from one memory to the next--alighting on the hysterical battlefield of her parental home, her expulsion from school, the drug-taking twenty-something in and out of psychiatric hospitals--and telling all through the lens of living with terminal cancer, through what she knows will be her final months, Diski paints a portrait of two extraordinary writers--Lessing and herself. From a wholly original thinker comes a book like no other: a cerebral, witty, dazzlingly candid masterpiece about an uneasy relationship; about memory and writing, ingratitude and anger; about living with illness and facing death.

Jenny Diski

About

Books

Join the club