![]() Her fragile, flinching persona is a secret weapon, as valiant in its way as the swagger of Mailer and co This desire to look while remaining detached makes her wary of her friend Tony Richardson who, temporarily without a play or movie to direct, seizes a “dramatic possibility” by goading his dinner guests into a furious row: Didion flees. In an essay on Robert Mapplethorpe, she remembers early Vogue assignments when her lowly chore was “watching women being photographed” – though at one session the starry model purloins Didion’s dress and leaves her huddling in a raincoat. Rather than interviewing Nancy Reagan, she stays at a deferential distance while a television news crew moves in for a close-up. ![]() In her journalism, she prefers to hover on the periphery. ![]() As a novelist, Didion says she usually had to start by searching for an identity that she could assume as a narrator: only then was she able to tell a story. ![]()
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