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On Drugs

Oneiric Architecture and Opium

August 15, 2014 | by

Visualizing opium dreams through the etchings of Piranesi.

Title Plate

Title Plate

Prisoners on a Projecting Platform

Prisoners on a Projecting Platform

The Arch with a Shell Ornament

The Arch with a Shell Ornamental

The Drawbridge

The Gothic Arch

The Gothic Arch

The Man on the Rack

The Round Tower

The Round Tower

178054, 2012.159.18.6

The Smoking Fire

The Staircase with Trophies

The Staircase with Trophies

It’s Thomas De Quincey’s birthday today—what better time to tour the mind-bending architecture of his laudanum-fueled dreams? The famed Romantic opium addict described his vivid dreams as “the immediate and proximate cause of my acutest suffering.” In his 1821 Confessions of an English Opium-Eater, he outlines their disturbing qualities. They’re extremely productive—pretty much anything he thinks about at night ends up in them; they resurrect deeply repressed memories from his childhood, accompanied by intense anxiety and melancholy, and they seem to expand time and space to the point of “unutterable infinity.”

What might this madness look like? Here De Quincey turns to ekphrasis, invoking Giovanni Battista Piranesi’s Carceri d’Invenzione (Imaginary Prisons), a series of etchings that depict surreal, classical-inspired dungeons:

Many years ago, when I was looking over Piranesi’s, Antiquities of Rome, Mr. Coleridge, who was standing by, described to me a set of plates by that artist, called his Dreams, and which record the scenery of his own visions during the delirium of a fever. Some of them (I describe only from memory of Mr. Coleridge’s account) represented vast Gothic halls, on the floor of which stood all sorts of engines and machinery, wheels, cables, pulleys, levers, catapults, &c. &c., expressive of enormous power put forth and resistance overcome. Creeping along the sides of the walls you perceived a staircase; and upon it, groping his way upwards, was Piranesi himself: follow the stairs a little further and you perceive it come to a sudden and abrupt termination without any balustrade, and allowing no step onwards to him who had reached the extremity except into the depths below. Whatever is to become of poor Piranesi, you suppose at least that his labours must in some way terminate here. But raise your eyes, and behold a second flight of stairs still higher, on which again Piranesi is perceived, but this time standing on the very brink of the abyss. Again elevate your eye, and a still more aerial flight of stairs is beheld, and again is poor Piranesi busy on his aspiring labours; and so on, until the unfinished stairs and Piranesi both are lost in the upper gloom of the hall. With the same power of endless growth and self-reproduction did my architecture proceed in dreams. In the early stage of my malady the splendours of my dreams were indeed chiefly architectural; and I beheld such pomp of cities and palaces as was never yet beheld by the waking eye unless in the clouds.

Completed in the mid-eighteenth century, Piranesi’s Prisons, with their vast cavernous archways and creeping staircases, remind of the impossible constructions of M. C. Escher, though Piranesi precedes Escher by nearly two hundred years. And there’s an expressiveness to Piranesi’s line, a level of permitted imprecision radically different from Escher’s mathematically inspired print work—a certain nightmarishness, even. Through the Prisons, De Quincey manages to evoke the strange, haunting infinity of his dreams. And by setting these expansive dungeons in the mind of an addict, he gets at something key about the particular creepiness of Piranesi’s constructed prisons: the crush of infinity. There’s something claustrophobic about their sheer expansiveness. The shadowy inmates of imaginary prisons, like opium eaters, are enslaved in surplus, sentenced to learn the restrictive power of excess.

Chantal McStay studies English at Columbia University and is an intern at The Paris Review.

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Free of One’s Melancholy Self

January 28, 2014 | by

quaaludes_tape_cover_02

The Quaaludes featuring the DT’s album cover, 2011.

When Jordan Belfort—played by Leonardo DiCaprio in a truly masterful moment of full-body acting—wrenches himself from the steps of a country club into a white Lamborghini that he drives to his mansion, moviegoers, having already watched some two hours of Martin Scorsese’s The Wolf of Wall Street, are meant to be horrified. His addiction to quaaludes (and money, and cocaine, and sex, and giving motivational speeches) has rendered him not just a metaphorical monster but a literal one. He lunges at his pregnant wife and his best friend, played by Jonah Hill, and equally high; he smashes everything in his path, both with his body and with the aforementioned Ferrari. He gurgles and drools and mangles even monosyllabic words. He’s Frankenstein in a polo shirt.

But what of the movie’s glossier scenes? The one where Belfort and his paramour engage in oral sex while speeding down a highway? Where he and his friends and colleagues are on boats and planes and at pool parties totally free of the inhibitions that keep most of us adhering to the laws of common decency? What about the parts that look fun?

Everyone I spoke to post-Wolf (at least, everyone who liked it) rapturously praised Terence Winter’s absurd dialogue, DiCaprio’s magnetism, Scorsese’s eye for beautiful grotesquerie. Most of them also included a half-whispered, wide-eyed aside: What exactly are quaaludes, and where can we get some? Read More »

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