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The Journal of Joyce Carol Oates 1973-1982 (2007)

von Joyce Carol Oates

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The Journal of Joyce Carol Oates, edited by Greg Johnson, offers a rare glimpse into the private thoughts of this extraordinary writer, focusing on excerpts written during one of the most productive decades of Oates's long career. Far more than just a daily account of a writer's writing life, these intimate, unrevised pages candidly explore her friendship with other writers, including John Updike, Donald Barthelme, Susan Sontag, Gail Godwin, and Philip Roth. It presents a fascinating portrait of the artist as a young woman, fully engaged with her world and her culture, on her way to becoming one of the most respected, honored, discussed, and controversial figures in American letters.… (mehr)
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I really enjoyed this volume of journals by Joyce Carol Oates. I think I found the woman I expected to find, and yet somehow her voice in the journals sounded a lot older than she was at the time of writing them, in a sense I saw the JCO of now, but then she was between 35-44 years of age.

I loved her passion for the novels as she was writing. There seems to come a point midway when almost the book becomes her lover and she revels in his attentions and hers to him.

There are explorations about the two JCO's or rather JCO (the writer/public person) and Joyce Smith - the who she is person, and reading this from the 'inside' as it is happening to someone gives a different perspective.

Some interesting thought about her health and her body image.

It is also enjoyable hearing about her relationship with her husband and the contentedness they have found in each other, and yet, writing such a relationship would be impossible because it involved no conflict, and a novel required conflict. or it would bore the reader. I'm not sure that it can't be done, and I am sure JCO has achieved it, but I suppose it can't be the only thing done perhaps.

Two-thirds through there is perhaps an element of repetition as although each novel is different, Oates on the whole has found her most satisfying method of writing and so they rhythm for each novel follows a similar pattern. That said, I am already missing her quiet voice. ( )
3 abstimmen Caroline_McElwee | Apr 23, 2008 |
In this selection, drawn from “more than 4,000 single-spaced typewritten pages,” according to the editor, Greg Johnson, she rarely attempts to be aphoristic, and when she does the results are seldom memorable: “Feb. 28, 1980. ... I oscillate between thinking I am crazy, and thinking I am not crazy enough. ... March 8, 1980. ... To embrace one’s fate — as if it were ‘destiny.’ ... April 18, 1980. ... Things we desire to share, and to share immediately: ecstasy, sorrow, renown.” In a brief introduction, Oates discloses that she has barely read Johnson’s selections, since “to revisit the past in this way is somehow so excruciating, I haven’t the words to guess why.”...

Admirers of Oates’s books will be intrigued to discover the author’s occasional comments on the consciousness of her characters (the early memories of Jesse in “Wonderland,” for example, are “closer to him ... than anything he has experienced as an adult”), as well as her thoughts on the creative process: “The characters form slowly, emerge slowly, slowly, one must only allow them their natural growth” (this of “Childwold”). They will regard with awe the productivity of a writer who, having nearly completed an 800-page novel in November 1981 — “The Crosswicks Horror,” still unpublished — is capable of generating 10 short stories, two essays and at least two poems over the next three and a half months, while “Crosswicks” is undergoing revision and a new novel, “Mysteries of Winterthurn,” is in embryo.
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A Charm invests a face imperfectly beheld - The Lady dare not lift her Veil for Fear it be dispelled - But peers beyond her mesh - And wishes - and denies - Lest Interview - annul a want - That image - satisfies - EMILY DICKINSON (1862)
A journal as an experiment in consciousness. An attempt to record not just the external world, and not just the vagrant, fugitive, ephemeral "thoughts" that brush against us like gnats, but the refractory and inviolable authenticity of daily life: daily-ness, day-ness, day-lightness, the day's eye on experience.
Balance between private, personal fulfillment (marriage, work at the University) and "public' life, the commitment to writing. The artist must find and environment, a pattern of living, that will protect his or her energies, the art must be cultivated, must be given priority.
The challenge is to wed the naturalistic and the symbolic, the realistic and the abstract, the utterly convincing story and the parable...that is to bring together the psychological and the mythic in one character at all moments...and to wed time and eternity in a seamless whole.
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For Gail Godwin, and for Bill Heyen- fellow explorers of the landscape within
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When Joyce Carol Oates began her journal on New Year's Day, 1973, she was at the height of her early fame.
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If I wonder where my personality really exists, in what form it best expresses itself, the answer is obvious: in the books. Between hard covers. Hard covers. The rest is Life.
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The Journal of Joyce Carol Oates, edited by Greg Johnson, offers a rare glimpse into the private thoughts of this extraordinary writer, focusing on excerpts written during one of the most productive decades of Oates's long career. Far more than just a daily account of a writer's writing life, these intimate, unrevised pages candidly explore her friendship with other writers, including John Updike, Donald Barthelme, Susan Sontag, Gail Godwin, and Philip Roth. It presents a fascinating portrait of the artist as a young woman, fully engaged with her world and her culture, on her way to becoming one of the most respected, honored, discussed, and controversial figures in American letters.

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