by Hasan Altaf
In their outlines, all of Joan Didion's novels seem more or less the same: The protagonist is always a woman, in some way “troubled”; there are always men, usually two, usually powerful in some way; there is sometimes a son but always a daughter, who is generally what the woman is “playing for,” as Maria Wyeth puts it in Play It As It Lays (1970): “What I play for here is Kate.” The stories of the troubled women torn between the two men and trying to save or reconnect with or find their children do not, in general, end happily; the children remain lost, the men too are gone (divorce, death, abandonment, some combination thereof), and at the end the woman we've been following is alone and still in some way “troubled.”
The first time I read Didion's novels, I read them all at once, and the similarities began to annoy me: If they were all going to be the same, what was the point in reading more than one? (There are other writers who do this, who write the same story time and time again, and those in general I abandon after the first; Didion's style is what always kept me coming back.) Recently, however, as a way of preparing for the publication of Blue Nights, I went back and reread the novels, starting with Run, River (1963) and ending with The Last Thing He Wanted (1996). The second read-through answered this question for me. It also answered another, perhaps more important question – what is the point for the writer in telling the same story so many times?
