Joan Didion has been a monumental influence on countless writers, including myself. Her works, from Slouching Towards Bethlehem to The Year of Magical Thinking, have profoundly shaped modern literature.
Anything new by her is a major literary event. So, the recent announcement of the posthumous publication of her personal journal, Notes to John, has ignited a significant ethical debate within the literary world.
Yes, it is exciting to see Didion's unpublished work, but is it right to publish her personal journals? Especially those detailing conversations with her psychiatrist?
The Discovery of Notes to John
After Didion’s passing in 2021, her literary executors found a meticulously organised journal comprising 46 entries addressed to her late husband, John Gregory Dunne. These entries delve into deeply personal topics, including her struggles with alcoholism, depression, and complex family dynamics. Despite the intensely private nature of these writings, Didion left no explicit instructions regarding their fate, leading to the decision to publish them in April 2025.
A Dichotomy of perspectives
The impending release of Notes to John has polarised opinions. Some argue that sharing these intimate reflections offers invaluable insights into Didion’s life and creative process, enriching our understanding of her work. Conversely, close friends and family express feelings of betrayal, emphasising that such private thoughts were never intended for public consumption. This tension raises critical questions about the boundaries of privacy and the responsibilities of literary executors.
The Legacy of Didion’s influence
Didion’s impact on contemporary writers is immeasurable; several have already spoken about the forthcoming journal. Writers like Zadie Smith and Jia Tolentino have cited her as a key influence, admiring her precision, restraint, and ability to capture cultural unease. Megan Nolan recently reflected on how The Year of Magical Thinking shaped her approach to writing about grief. At the same time, Anne Patchett has described Didion as a master of discipline and detachment in prose. Some admirers welcome Notes to John as a rare glimpse into Didion’s world, while others hesitate, questioning whether it aligns with her signature control over narrative and privacy.
Ethical implications in posthumous publications
This situation isn’t unprecedented. Historically, the literary world has grappled with the morality of releasing private documents after an author’s death. The Didion case underscores the necessity for clear directives from writers concerning their unpublished works. It also prompts a broader discussion about the ethics of posthumous publications and the potential impact on an author’s legacy.
There are some celebrated examples of relatives or friends burning letters or papers, including Lord Byron. Dubbed the greatest crime in literature, Byron's memoirs (said to be scandalous) were burned at a house in Piccadilly, London, by Augusta Leigh; his publisher, John Murray II (his young son, John Murray III, was also present); and his great friend, the writer John Cam Hobhouse.
Jane Austen's sister Cassandra burnt many of Jane's letters, which many believe was done to protect her sister's reputation. While Virginia Woolf and Franz Kafka destroyed many of their own early drafts and letters. Sylvia Plath's husband Ted Hughes reportedly destroyed parts of her final journal after her death, believing it would protect their children.
As admirers of Didion’s profound contributions to literature, we are now faced with a complex dilemma: balancing our desire for deeper insight into her genius with respect for the personal boundaries she maintained during her lifetime.
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