Joan Didion

This enhanced eBook edition of Blue Nights includes three short films directed by Griffin Dunne and starring Joan Didion. Each film blends Didion's incisive prose with images and mementos from her daughter's life. From one of our most powerful writers, Blue Nights is a work of stunning frankness about losing a daughter. Richly textured with bits of her own childhood and married life with her husband, John Gregory Dunne, and daughter, Quintana Roo, this new book by Joan Didion examines her thoughts, fears, and doubts regarding having children, illness, and growing old. Blue Nights opens on July 26, 2010, as Didion thinks back to Quintana’s wedding in New York seven years before. Today would be her wedding anniversary. This fact triggers vivid snapshots of Quintana’s childhood—in Malibu, in Brentwood, at school in Holmby Hills. Reflecting on her daughter but also on her role as a parent, Didion asks the candid questions any parent might about how she feels she failed either because cues were not taken or perhaps displaced. “How could I have missed what was clearly there to be seen?” Finally, perhaps we all remain unknown to each other. Seamlessly woven in are incidents Didion sees as underscoring her own age, something she finds hard to acknowledge, much less accept. Blue Nights—the long, light evening hours that signal the summer solstice, “the opposite of the dying of the brightness, but also its warning”—like The Year of Magical Thinking before it, is an iconic book of incisive and electric honesty, haunting and profoundly moving.

Blue Nights (Enhanced Edition)

lianna

Whole days now spent on this one question, this question with no possible answer: who do I want notified in case of emergency?

I think it over. I do not want even to consider “in case of emergency.”

Emergency, I continue to believe, is what happens to someone else.

I say that I continue to believe this even as I know that I do not.

I mean, think back: what about that business with the folding metal chair in the rehearsal room on West Forty-second Street? What exactly was I afraid of there? What did I fear in that rehearsal room if not an “emergency”? Or what about walking home after an early dinner on Third Avenue and waking up in a pool of blood on my own bedroom floor? Might not waking up in a pool of blood on my own bedroom floor qualify as an “emergency”?

All right. Accepted. “In case of emergency” could apply.

I could give the name of my brother, but my brother lives three thousand miles from what might be defined in New York as an emergency. I could give Griffin’s name, but Griffin is shooting a picture. Griffin is on location. Griffin is sitting in the dining room of one or another Hilton Inn—a few too many people at the table, a little too much noise—and Griffin is not picking up his cell. I could give the name of whichever close friend in New York comes first to mind, but the close friend in New York who comes first to mind is actually, on reflection, not even in New York, out of town, out of the country, away, certainly unreachable in the best case, possibly unwilling in the worst.

As I consider the word “unwilling” my lagging cognition kicks in.

The familiar phrase “need to know” surfaces.

The phrase “need to know” has been the problem all along.

She is of course the one person who needs to know.

Let me just be in the ground and go to sleep.

I am able to imagine telling her because I still see her.

The same way I still see her weeding the clay court on Franklin Avenue.

The same way I still see her sitting on the bare floor crooning back to the eight-track.

The same way I still see the stephanotis in her braid, the same way I still see the plumeria tattoo through her veil. The same way I still see the bright-red soles on her shoes as she kneels at the altar. The same way I still see her, in the darkened upstairs cabin on the evening Pan Am from Honolulu to LAX, inventing the unforeseen uptick in Bunny Rabbit’s fortunes.

I know that, should I try to reach her—should I take her hand as if she were again sitting next to me in the upstairs cabin on the evening Pan Am from Honolulu to LAX, should I lull her to sleep against my shoulder, should I sing her the song about Daddy gone to get the rabbit skin to wrap his baby bunny in—she will fade from my touch.

Pass into nothingness: the Keats line that frightened her.

Fade as the blue nights fade, go as the brightness goes.

I myself saw the cathedral doors locked at six.

I know what the frailty is, I know what the fear is.

What is lost is already behind the locked doors.

The fear is for what is still to be lost.

Yet there is no day in her life on which I do not see her.

Helen 

ln certain latitudes there comes a span of time solstice, Lapproaching andfollowing the summer solstice, some weeks in all, when the twilights turn long and blue. This period of the blue nights does not occur in subtropical Californi, where I lived for much of the time I will be talking about here and where the end of daylight is fast and lost in the blaze of the dropping sun, but it does occur in New York, where I now live. 

Fade as the blue nights fade, go as the brightness goes. Go back into the blue. I myself placed her ashes in the wall. I myself saw the cathedral doors locked at six. I know what it is I am now experiencing. I know what the frailty is, I know what the fear is. The fear is not for what is lost. What is lost is already in the wall. What is lost is already behind the locked doors. The fear is for what is still to be lost. You may see nothing still to be lost. Yet there is no day in her life on which I do not see her.

Essence

I find more faded and cracked photographs than I want ever again to see.

I find many engraved invitations to the weddings of people who are no longer married.

I find many mass cards from the funerals of people whose faces I no longer remember.

In theory these mementos serve to bring back the moment.

In fact they serve only to make clear how inadequately I appreciated the moment when it was here.

How inadequately I appreciated the moment when it was here is something else I could never afford to see.”

Kika

I know what the fear is. The fear is not for what is lost, what is lost is already in the wall, what is lost is already behind the locked doors. The fear is for what is still to be lost.

When I began writing these pages I believed their subject to be children, the ones we have and the ones we wish we had, the ways in which we depend on our children to depend on us, the ways in which we encourage them to remain children, the ways in which they remain more unknown to us than they do to their most casual acquaintances; the ways in which we remain equally opaque to them.

Blue Nights (Enhanced Edition) quotes

Join the club