Play It as It Lays

Rattlesnakes appear throughout the book, mostly denoting personalized danger and the threat of male predators. In an introductory monologue, Maria wonders why a coral snake needs "two glands of neurotoxic poison to survive, while a king snake, so similarly marked, needs none". Maria's mother makes her read the "rattlesnake bite" entry in the "American Red Cross Handbook". Snakes, "stretched on the warm asphalt" roads of Nevada, figure in Maria's fantasies about car accidents, and inflict deadly bites upon those who venture out. Maria tells Carter a story about a man who wanted to talk to God and was later found dead, "bitten by a rattlesnake". "[T]he rattlesnake in the playpen" and "on the plate" are also significant metaphors.

In world religions, the snake appears as a Biblical tempter, an agent in ritual suicides, an author of stratagems, and the symbol of fertility in general and male sexuality in particular. In "The Philadelphia Journal", Benjamin Franklin suggested the female rattlesnake as a symbol of America: "The poison of her teeth is the necessary means of digesting her food, and at the same time is certain destruction to her enemies".[3]

In the film version of Didion's book,[2] a Los Angeles highway is seen in an aerial view as a snake.

Maria watches a hummingbird while in the psychiatric ward. It suggests real life and tangible reality, in contrast to the superficial and empty life in Hollywood. Earlier, Maria has worried that "glossy plants" in her agent's office are taking away her oxygen, and a guest at BZ's party complains of being given an "artificial lemon".

Wyeth eats eggs while driving on the freeway. Talking with her agent, she asks him if he's "playing with a Fabergé Easter egg". Conventionally, eggs are signs of fertility—a mocking reminder of Maria's abortion.

Initially, Maria's road obsession is related to the loss or lack of communication between the characters. While a freeway is "a way of getting somewhere", Maria has nowhere to go.

In the desert, Maria has trouble following road signs. She chafes at the gravity (in both senses) of earthbound secondary roads, which don't allow her the carefree flight of a freeway (though her travels upon them are equally aimless).

Maria's father is an addicted gambler. He loses a house in Reno in a private wager, and puts money in uncertain business deals. He teaches Maria to assess her chances in the game of craps, which he compares to life. Though he never wins, Maria claims to have inherited his optimism and tenacity.

Maria often calls herself a "player", not an "actress", and mostly in the context of the roles society imposes on her. BZ constantly accuses her of "playing", and forces Helene to "play-or-pay", though his nihilism brings him to suicide. Hollywood is a place where the thin line between real-world actions and fictional games is blurred.

After the abortion, Maria suffers from recurring nightmares and ghastly visions featuring dead fetuses, dying children, severed body parts and plumbing.

Air conditioners appear regularly in this desert world, even in the Encino room where Maria undergoes abortion. They suggest the suffocating, artificial human atmosphere that surrounds her. Carter is said to dislike air conditioners.

Maria dreams of driving "into the hard white empty core of the world". Before terminating her pregnancy, she sleeps between "immaculate" white sheets in "white crepe pajamas", hoping to induce a miscarriage. A recurring dream figure is the "man in white duck pants" from her abortion.

Whiteness prefigures nothingness and obliteration of memory. She speaks of her mind as a "blank tape", merely recording impressions and experiences. And she hopes to write "a novel so elliptical and fast that it would be over before you noticed it, a novel so fast that it would scarcely exist on the page at all. ... white space. Empty space".[4]

An aggressive madwoman in a supermarket attempts to engage Maria, accusing her of inattentiveness. After marrying Carter, she receives letters from "mad people". Her daughter is having mental problems, and she herself is admitted to a neuropsychiatric ward. In Didion's world, normality and cause-effect notions are conventions established by an unspecified "them".

Maria's mother croons to herself the lyrics of the hit single by Jo Stafford, "You Belong to Me". Maria replays in her head lines from 1969's "Son of a Preacher Man" by Dusty Springfield and "Spinning Wheel" by Blood, Sweat & Tears.