Authors: Diane Johnson

  • Last updated on December 10, 2021

Last reviewed: June 2017

American novelist and essayist

April 28, 1934

Moline, Illinois


Diane Johnson is a writer whose works bridge the gap between literary and popular fiction. Born Diane Lain in Moline, Illinois, she lived in the same house throughout her childhood. Her parents, Frances Elder Lain and Dolph Lain, always had books in their home and encouraged their daughter’s interest in making up “little stories” to tell. In one memorable incident from Diane’s childhood, her father, a high school principal, lost his job for revealing plagiarism by the superintendent of schools’s daughter. Despite this event, Johnson attributes her feeling that the world is orderly, or should be, to her stable childhood years. Many of her protagonists, who struggle to make sense of their world, share this worldview.

At age seventeen she enrolled in Stephens College, a two-year women’s college. At nineteen, however, she dropped out of Stephens to marry B. Lamar Johnson, Jr., a student at the University of California, Los Angeles, and move to the West Coast with him. There, she worked to help put her husband through medical school, had four children, and attended classes, completing her bachelor’s degree and going on to obtain a Ph.D. in English. Her dissertation was on the poetry of George Meredith.

Johnson was not sure when, or why, she first decided to become a writer. During the busy years of taking classes and bringing up children, she started a novel. She had become friends with Alison Lurie, then also a beginning novelist. From Lurie, Johnson gained encouragement about writing and also mutual support in the form of baby-sitting exchanges and other practical help. The first novel that Johnson completed has not been published, but her second, Fair Game, found a publisher without difficulty. Johnson admitted she might not have stuck with writing novels if she had received repeated rejections, as many writers do.

Her first three novels, all set in California, deal satirically with elements of contemporary existence, each featuring a woman trying to cope with life outside the safe boundaries of her upbringing. Loving Hands at Home is set in a Mormon subculture and Burning in the zany world of New Age devotees. With The Shadow Knows, Johnson takes a grimmer look at the floundering woman theme. Published as the women’s movement flourished in the 1970’s, it is the most overtly feminist of Johnson’s work. The protagonist, a woman known only as N, spends a week of escalating terror, culminating in her rape. The plot is that of a thriller or mystery novel, but N’s doubts about her own perceptions give it a depth beyond the standard genre elements. This novel brought Johnson serious attention from reviewers and critics. Stanley Kubrick considered filming it, and her contacts with the director led to her assignment to write the screenplay for The Shining.

Meanwhile, much had happened in the rest of Johnson’s life. After her first marriage ended, she wed John Murray, a professor of medicine, in 1968. That year she also joined the faculty of the University of California, Davis. In addition to fiction, she wrote and published essays, book reviews, and two biographies: one, on the first Mrs. George Meredith, an offshoot of her dissertation project, and one of Dashiell Hammett, written with the active cooperation of playwright Lillian Hellman, his longtime companion.

Johnson’s next three novels garnered more literary acclaim. Lying Low is another novel of psychological suspense; the other two give sharp insights into, respectively, Iran at the time of its revolution and the life of a big-city hospital. In 1988 Johnson was awarded a Mildred and Harold Strauss Living, which carries a $50,000 a year stipend to allow its recipient to concentrate on writing. Johnson had always felt a tug of time and attention between her teaching and her writing obligations; the award enabled her to devote herself full-time to the latter.

In the mid-1990’s, Johnson and her husband, who worked on African medical needs with a team of French doctors, started spending more than half of each year in France. Johnson said that arrangement made life and writing easier for her in several ways. In California she had disliked the daily necessity of driving a car and found that her not needing an automobile in France gave her more time for her work. Also, the Parisian winter reminded her of her Illinois childhood; she found it more bracing than California’s climate.

Diane Johnson often set her fiction where she was living at the time of writing. Her novels Le Divorce, Le Mariage, and L’Affaire are comedies of manners, contrasting French morals and mores with those of Americans. Johnson was surprised at the wide readership these novels drew. Her previous works garnered good reviews and several nominations for prestigious awards, but Le Divorce was Johnson’s first book that, as she said, someone whom she meets on an airplane is likely to have read. All three novels depict American expatriates living in Paris, where they experience frequent culture clashes with French acquaintances or intimates. Many such scenes are hilarious. Under the humor are more serious themes, such as how social norms affect human relationships and the eruption of violence in everyday life. Two of the books include a murder, but in neither is the whodunit aspect paramount.

Critics have noted how often Johnson, unlike some literary writers, includes violent events in her novels. Such events help her to examine character or the nature of evil and also function as pivot points for her plots. The two books set in France combine social commentary, vivid characters, and complex plots to appeal to both popular and literary audiences.

Author Works Long Fiction: Fair Game, 1965 Loving Hands at Home, 1968 Burning, 1971 The Shadow Knows, 1974 Lying Low, 1978 Persian Nights, 1987 Health and Happiness, 1990 Le Divorce, 1997 Le Mariage, 2000 L’Affaire, 2003 Into a Paris Quartier, 2005 Jazsmin, 2007 Lulu in Marrakech, 2008 Screenplay: The Shining, 1980 (adaptation of Stephen King’s novel; with Stanley Kubrick) Teleplay: An Apple, an Orange, 1979 (adaptation of her short story) Nonfiction: The True History of the First Mrs. Meredith and Other Lesser Lives, 1972 Terrorists and Novelists, 1982 Dashiell Hammett: A Life, 1983 Natural Opium: Some Travelers’ Tales, 1993 Flyover Lives: A Memoir, 2014 Bibliography Bell, Susan Groag. “Diane Johnson.” In Women Writers of the West Coast: Speaking of Their Lives and Careers, edited by Marilyn Yalom. Santa Barbara, Calif.: Capra Press, 1983. Except for Bell’s introductory remarks, this chapter consists of Johnson’s remarks in a wide-ranging interview about her life, literary and social influences upon her work, and memorable experiences connected with her writing projects. Corrigan, Maureen. "Midwestern Memoir Tracks 'Flyover Lives' of Author's Forebears." Review of Flyover Lives, by Diane Johnson. NPR Books, 31 Jan. 2014, Accessed 30 May 2017. Review of Johnson's memoir. Johnson, Diane. “Diane Johnson.” Interview by Marilyn Yalom. In Women Writers of the West, by Marilyn Yalom. Santa Barbara, Calif.: Capra Press, 1983. In a revealing conversation, Johnson speaks of the creative process and some of the main ideas of and influences on her writing. Johnson, Diane. "The Writing Life: Diane Johnson." The Washington Post, 30 Nov. 2008, Accessed 30 May 2017. A reflection by the author on her career. Johnson, Diane. Interview by Larry McCaffery and Tom LeClair. In Anything Can Happen: Interviews with Contemporary American Authors, by Larry McCaffery and Tom LeClair. Urbana: University of Illinois Press, 1983. Here Johnson reflects on her life, the writing of fiction, ideas in her novels, and the fiction of contemporary American novelists. Ryan, Marjorie. “The Novels of Diane Johnson.” Critique: Studies in Modern Fiction 16, no. 1 (1974): 53-63. In this critical essay, three of Johnson’s novels are assessed: Fair Game, Loving Hands at Home, and Burning. Sage, Lorna. Women in the House of Fiction: Post-war Women Novelists. New York: Routledge, 1992. The author counts Johnson among the “movement” novelists and analyzes The Shadow Knows as a feminist text. Comparisons are drawn with Muriel Spark’s The Driver’s Seat (1970) and Margaret Atwood’s The Handmaid’s Tale (1986).

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