"Ask anyone committed to Marxist analysis how many angels on the head of a pin, and you will be asked in return to never mind the angels, tell me who controls the production of pins"
About this Quote
Didion’s joke works because it’s a trapdoor: you step toward a medieval riddle about angels and fall into a modern argument about power. The line is funny in that dry, knife-edge way she mastered, but it’s also a miniature model of her suspicion toward totalizing frameworks. She’s not really litigating theology; she’s mocking a reflex. Faced with an abstract question, the committed Marxist (in her setup) can’t resist converting it into a material ledger: ownership, production, control. The punchline flatters Marxism’s bracing practicality even as it exposes its impatience with anything that can’t be counted, organized, or indicted.
The subtext is less “Marxism is wrong” than “ideology is a solvent.” Didion is always watching how systems of belief dissolve the world’s weird particulars into a single explanatory paste. By choosing angels, she picks the quintessential “useless” question; by choosing pins, she picks the quintessential commodity. The pivot is a reminder that what we call “reality” often depends on which questions we’ve trained ourselves to consider serious.
Context matters: Didion came of age amid the midcentury rise of theory as a cultural mood, then wrote through the ideological fever swamps of the 1960s and 1970s, when grand narratives competed to explain everything from war to campus politics. Her intent is to puncture the self-certainty of the committed analyst - not to defend mysticism, but to insist on the messy mixed economy of human motives: money and meaning, structures and symbols. Her wit is a warning: when a method becomes a personality, it stops being a tool and starts being an answer in search of a question.
The subtext is less “Marxism is wrong” than “ideology is a solvent.” Didion is always watching how systems of belief dissolve the world’s weird particulars into a single explanatory paste. By choosing angels, she picks the quintessential “useless” question; by choosing pins, she picks the quintessential commodity. The pivot is a reminder that what we call “reality” often depends on which questions we’ve trained ourselves to consider serious.
Context matters: Didion came of age amid the midcentury rise of theory as a cultural mood, then wrote through the ideological fever swamps of the 1960s and 1970s, when grand narratives competed to explain everything from war to campus politics. Her intent is to puncture the self-certainty of the committed analyst - not to defend mysticism, but to insist on the messy mixed economy of human motives: money and meaning, structures and symbols. Her wit is a warning: when a method becomes a personality, it stops being a tool and starts being an answer in search of a question.
Quote Details
| Topic | Justice |
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