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Of course it might have been some other city, had circumstances been different and the time been different and had I been different, might have been … - Joan Didion
" "Of course it might have been some other city, had circumstances been different and the time been different and had I been different, might have been Paris or Chicago or even San Francisco, but because I am talking about myself I am talking here about New York. That first night I opened my window on the bus into town and watched for the skyline, but all I could see were the wastes of Queens and big signs that said MIDTOWN TUNNEL THIS LANE and then a flood of summer rain (even that seemed remarkable and exotic, for I had come out of the West where there was no summer rain), and for the next three days I sat wrapped in blankets in a hotel room air-conditioned to 35 degrees and tried to get over a bad cold and a high fever. It did not occur to me to call a doctor, because I knew none, and although it did occur to me to call the desk and ask that the air conditioner be turned off, I never called, because I did not know how much to tip whoever might come — was anyone ever so young? I am here to tell you that someone was. All I could do during those three days was talk long-distance to the boy I already knew I would never marry in the spring. I would stay in New York, I told him, just six months, and I could see the Brooklyn Bridge from my window. As it turned out the bridge was the Triborough, and I stayed eight years.
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About Joan Didion
Joan Didion (December 5, 1934 – December 23, 2021) was an American writer known as a novelist, journalist and prose stylist.
Biography information from Wikiquote
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Additional quotes by Joan Didion
This is my attempt to make sense of the period that followed, weeks and then months that cut loose any fixed idea I had ever had about death, about illness, about probability and luck, about good fortune and bad, about marriage and children and memory, about grief, about the ways in which people do and do not deal with the fact that life ends, about the shallowness of sanity, about life itself. I have been a writer my entire life. As a writer, even as a child, long before what I wrote began to be published, I developed a sense that meaning itself was resident in the rhythms of words and sentences and paragraphs, a technique for withholding whatever it was I thought or believed behind an increasingly impenetrable polish. The way I write is who I am, or have become, yet this is a case in which I wish I had instead of words and their rhythms a cutting room, equipped with an Avid, a digital editing system on which I could touch a key and collapse the sequence of time, show you simultaneously all the frames of memory that come to me now, let you pick the takes, the marginally different expressions, the variant readings of the same lines. This is a case in which I need more than words to find the meaning. This is a case in which I need whatever it is I think or believe to be penetrable, if only for myself.
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Quintana's christening was in 1966, this Christian Dior show was two years later, 1968: 1966 and 1968 were a world removed from each other in the political and cultural life of the United States but they were for women who presented themselves a certain way the same time. It was a way of looking, it was a way of being. It was a period. What became of that way of looking, that way of being, that time, that period? What became of the women smoking cigarettes in their Chanel suits and their David Webb bracelets, what became of Diana holding the champagne flute and the one of Sara Mankiewicz's Minton plates? What became of Sara Mankiewicz's Minton plates?
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