In November 1999, Joan Didion began seeing a psychiatrist because, as she wrote to a friend, her family had had “a rough few years.” She described the sessions in a journal she created for her husband, John Gregory Dunne. For several months, Didion recorded conversations with the psychiatrist in meticulous detail. The initial sessions focused on alcoholism, adoption, depression, anxiety, guilt, and the heartbreaking complexities of her relationship with her daughter, Quintana. The subjects evolved to include her work, which she was finding difficult to maintain for sustained periods. There were discussions about her own childhood and the question of legacy, or, as she put it, “what it’s been worth.” The analysis would continue for more than a decade.

These 12 pieces from 1968 to 2000, never before gathered together, offer an illuminating glimpse into the mind and process of a legendary figure. Here, Joan Didion touches on topics ranging from newspapers ("the problem is not so much whether one trusts the news as to whether one finds it"), to the fantasy of San Simeon, to not getting into Stanford. In "Why I Write," Didion ponders the act of writing: "I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means." From her admiration for Hemingway's sentences to her acknowledgment that Martha Stewart's story is one "that has historically encouraged women in this country, even as it has threatened men," these essays are acutely and brilliantly observed.

Joan Didion has always kept notebooks --- of overheard dialogue, interviews, drafts of essays, copies of articles. SOUTH AND WEST gives us two extended excerpts from notebooks she kept in the 1970s. “Notes on the South” traces a road trip that she and her husband, John Gregory Dunne, took through Louisiana, Mississippi and Alabama. Her acute observations about the small towns they pass through, her interviews with local figures, and their preoccupation with race, class and heritage suggest a South largely unchanged today. “California Notes” began as an assignment from Rolling Stone on the Patty Hearst trial. Though Didion never wrote the piece, the time she spent watching the trial in San Francisco triggered thoughts about the West and her own upbringing in Sacramento.

In her first book since THE YEAR OF MAGICAL THINKING, Joan Didion has now written with stunning frankness about her daughter, Quintana Roo, as well as thoughts and fears about having children and about growing old.

The first nonfiction work by one of the prose stylists of our era, SLOUCHING TOWARDS BETHELHEM remains, forty years after its first publication, the essential portrait of America— particularly California—in the sixties. It focuses on such subjects as John Wayne and Howard Hughes, growing up a girl in California, ruminating on the nature of good and evil in a Death Valley motel room, and, especially, the essence of San Francisco’s Haight-Ashbury, the heart of the counterculture.