Posts Tagged ‘depression’
June 2, 2015 | by Sadie Stein
It’ll be just lovely for you to play—it’ll be so hard. And there’s so much more fun when it is hard!
―Eleanor H. Porter, Pollyanna
As regular readers of this space know, I try to see the silver linings in things. The other day, I was Pollyanna-ing around, trying to Glad Game a fit of depression, as is my wont. What’s good about this experience? I thought. And on the face of it, that’s a tricky one: it’s hard to find much to love about those days when you wake up filled with a vague, enervating dread and simultaneously want not to exist and to wonder how anyone, anywhere, has ever had the energy to go on a self-destructive tear.
When you are overcome with guilt and shame. When you know that the next days will be given over to wrestling your brain into some semblance of normalcy, and that the effort will take everything you have. And that there’s no bravery or triumph in overcoming it, because to do so is only to regain normalcy—and if you’ve done your job right, no one will know there was ever anything wrong. Read More »
May 13, 2015 | by Dan Piepenbring
- As Thomas the Tank Engine turns seventy, it’s worth asking: What’s this talking train’s political agenda? A thoughtless pushover, fearful of going off the rails and fixed on his cohort’s industriousness, “Thomas resembles one of those preposterous idealized figures of Stalinist propaganda. Face radiant with a dream of heightened productivity. In fact, Stalin would probably have approved of Thomas, who always does what the Fat Controller tells him and strongly disapproves of other engines who step out of line.”
- If society seems increasingly illiterate to you, person of letters, remember that society relies less on literacy every year: “Most human beings worldwide would rather talk than read. Reading and writing are late inventions in the human story; widespread literacy in most places is only a few centuries old. And the fact that in black-and-white pictures of a commuter train almost every passenger is reading was an artifact of the technological state of things at the time. Today, most of those people’s equivalents are either talking on their phone or listening to music on it. Their forebears in those pictures would have been as well, if there had been devices to allow it.”
- Piero di Cosimo is remembered most for his religious paintings, but he also made “startlingly vivid portraits of individuals … He gave himself the same tests, again and again, though he did not always pass them: for example, depicting feet, which he did in an elegantly detailed manner, down to their splayed toes.”
- “When I began my first novel … I asked my colleague whether writing fiction caused manic-depression or merely mimicked the symptoms of manic-depression. He answered, ‘Yes,’ a cleverly enigmatic but also oddly confirming response.”
- Want a euphemism for motherfucker? Try melon-farmer, mother-fouler, or motorcycle, and have a nice day.
March 11, 2015 | by Sadie Stein
For something that inhibits creativity, depression inspires a lot of metaphors. You can read about it likened to a vine-covered house or a black dog or a dreary balloon, or see it portrayed as a lowering cloud. Maybe because it’s a state so characterized by its lacks—of joy, of fun, of perspective, of energy, of hope, of self-love, of memory—people are eager to imbue it with substance.
When it hit me—in the abrupt way it does when you’ve forgotten to take your meds—I was on the subway. It was like being deluged by a tidal wave—no, make that a wave of slush from a passing taxi. The drear was powerful and immediately exhausting. I told myself it would pass. We all have our tricks. When things aren’t too bad, I can sometimes get myself to the dog run. The best thing to do is to help someone else, although this is easier to say when you’re not in the grip of it. When the prospect of dressing or bathing seems beyond contemplation, when keeping yourself from others seems like one of the few good things you can manage, the energy required in engaging with others is daunting. Read More »
November 3, 2014 | by Sadie Stein
If I need to, I can date my periods of depression by the corresponding enthusiasms for terrible TV shows. Enthusiasms is maybe the wrong word: let’s say commitment to.
Now, at the best of times, I can be sucked into watching almost any show—give me a marathon and I’m yours for the next twenty episodes, and I genuinely mourn the passing of Most Eligible Dallas—but when I think of the other times, the bad times, my devotion had a different quality: resigned, enervated, yet obsessive. It was sort of coaxing a tepid crush out of boredom; with a little care and a lot of time, you can create something that approximates a genuine interest.
And I was willing to put in the time. There was my relatively respectable Upstairs Downstairs fixation after I moved into my parents’ house after college, when I’d spend my days crouching by the mail slot, waiting for the red Netflix envelopes to arrive with my fix. Even now, I see those weeks in 1970s BBC yellow. Less defensible was the obsession with the Australian soap McLeod’s Daughters, which could only be watched (a) during the day and (b) on Lifetime. This one crept up on me. Did I enter a McLeod’s Daughters contest to try to win a trip to the outback? Maybe. Let’s just say that when the booby prize, a faux-silver cowboy-boot key chain, arrived in the mail, it felt like a wake-up call.
But by any measure, the nadir came in the summer of 2005. I know the date because it was the one and only season of Wayne Newton’s The Entertainer, which aired on E!. Wayne Newton’s The Entertainer was part of the spate of copycat programs that followed the early success of American Idol, and the talent-show premise was similar. Ah, but here was the twist: The Entertainer was not restricted to singers—it sought to give exposure to all kinds of Vegas-style razzle-dazzle. As such The Entertainer was composed not merely of singers, but of ventriloquists, magicians—sorry, “illusionists”—and comedians, too, all vying for the grand prize: opening for “Mr. Vegas” himself. (Apparently Wayne Newton is called that, though I’m not sure by whom.) Read More »
October 7, 2014 | by Jane Harris
LaToya Frazier’s first monograph, The Notion of Family, documents the decline of Braddock, Pennsylvania—a once-prosperous steel-mill town that employed generations of African American workers—alongside the hardships of Frazier’s family, who grew up there. Issues of class and race underscore the mostly black-and-white photographs in the collection, which is arranged as a kind of family album: intimate, collaboratively produced portraits of Frazier and her mother in mirrors and on beds, are presented with derelict scenes of collapsed buildings, vacant lots, and boarded-up stores.
Frazier provides short texts with each image—wistful snippets of memory and anecdote merge with facts and statistics. Illness is nearly a constant. As Laura Wexler points out in an accompanying essay, Braddock’s hospital, which eventually housed the town’s only restaurant and therefore became its de facto meeting place, “is as much or more a fixture in this album and this family than the school, the factory, the library, the market, the taxi stand, the pawnshop, or any other institution.” Read More »
September 23, 2014 | by Sadie Stein
Colette once wrote that it’s impossible to write about love while you’re in it. (I’m paraphrasing.) I think the same is true of depression, although for different reasons. Love is too euphoric; depression is too tedious. It is not dramatic, it is not romantic. It is boring—to experience, to be around, to recollect. The rest of the time, when one is well, it is interesting only to the extent that a structurally unsound house is interesting to live in—you don’t think about it most of the time, and then occasionally you’re reminded to be careful, or to shore it up. (I can’t continue that metaphor because I have no idea how one goes about strengthening buildings. Mortar? Supports, probably.)
In the house where we grew up, the garage had a series of long cracks running up the stucco of its back wall. No one ever fixed it, but we were told sternly not to play near that wall. Instead, I would climb about twenty feet up a nearby pine tree, crawl onto the roof of the garage, and read there, or sometimes just run up and down the shingled peak, although I wasn’t habitually a physical risk-taker.
The only times my state of mind worries me are those times when Elves fails. Elves is the one thing that can always make me laugh—well, smile, anyway. The elves I mean are the ones in “Mending Wall,” wherein Frost’s speaker, walking the length of a crumbling fence with his hidebound neighbor, speculates about the forces that tear it down. “I could say ‘Elves’ to him.” I love the idea of someone saying “Elves” to someone else; having the thought of it.
When I would get sad and grim and joyless and my college boyfriend would see a cloud cross my face, he would sometimes lean over and whisper, “Elves.” He would say it in a very stentorian way, often at the strangest moments—on the Cyclone at Coney Island, or in the quiet car of a commuter train. It was always enough to jolly me out of myself for the moment. Often, just thinking it is enough. While that’s in the world, we’re okay, or we will be. Read More »