| Description: |
|
Product Description
In 1988, Joan Didion began looking at the American political process for The New York Review of Books. What she found was not a mechanism that offered the nation’s citizens a voice in its affairs but one designed by—and for—“that handful of insiders who invent, year in and year out, the narrative of public life.” The eight pieces collected here from The New York Review build, one on the other, to a stunning whole, a portrait of the American political landscape that tells us, devastatingly, how we got where we are today.
In Political Fictions, tracing the dreamwork that was already clear at the time of the first Bush ascendance in 1988, Didion covers the ways in which the continuing and polarizing nostalgia for an imagined America led to the entrenchment of a small percentage of the electorate as the nation’s deciding political force, the ways in which the two major political parties have worked to narrow the electorate to this manageable element, the readiness with which the media collaborated in this process, and, finally and at length, how this mindset led inexorably over the past dozen years to the crisis that was the 2000 election. In this book Didion cuts to the core of the deceptions and deflections to explain and illuminate what came to be called “the disconnect”—and to reveal a political class increasingly intolerant of the nation that sustains it.
Joan Didion’s profound understanding of America’s political and cultural terrain, her sense of historical irony, and the play of her imagination make Political Fictions a disturbing and brilliant tour de force.
Amazon.com Review
This collection of eight essays covering U.S. politics between 1988 and 2000 is a critical look at what author Joan Didion calls "the ways in which the political process did not reflect but increasingly proceeded from a series of fables about American experience." The New York Review of Books originally published these writings, and they hit all the major events of the previous dozen years: the election of George Bush (the first), the emergence of Bill Clinton, the Republican takeover of Congress, Clinton's impeachment, and the 2000 race between George Bush (the second) and Al Gore. During this period, Didion worked and reworked a theme of political disconnect. In examining who cast ballots in 2000 (for the first time, more than half of all voters had incomes about $50,000), she notes acidly in her foreword: "That this was not a demographic profile of the country at large, that half the nation's citizens had only a vassal relationship to the government under which they lived, that the democracy we spoke of spreading throughout the world was now in our own country only an ideality, had come to be seen, against the higher priority of keeping the process in the hands of those who already held it, as facts without application." She puts it a bit more succinctly elsewhere by describing "the largest political party in America" as "those who did not vote."
Didion brings a novelist's eye to her project, and she delights in exposing fakery. In describing one of Vice President Bush's visits to the Middle East in the 1980s, she notes that his advance team requested that camels be present at every stop--so that photographers could capture the supposed authenticity of the trip. Many of the essays in Political Fictions are, at a fundamental level, book reviews--and Didion's observations can be withering. She calls Newt Gingrich's novel 1945 "a fairly primitive example of the kind of speculative fiction known as 'alternate history.'" The accomplishment of Washington Post journalist Bob Woodward, she says, is to have produced "books in which measurable cerebral activity is virtually absent." Her targets are not always other writers: "No one who ever passed through an American public high school could have watched William Jefferson Clinton running for office in 1992 and failed to recognize the familiar predatory sexuality of the provincial adolescent." Needless to say, Political Fictions is not a celebration of American democracy. It is more like an indictment. --John Miller
|
