Depression, part two

Depression, part two

This wonderful piece from Brain Pickings in which the magisterial William Stryon is quoted .. love it.  He makes the point that the word “depression” just does not cut it.

“When I was first aware that I had been laid low by the disease, I felt a need, among other things, to register a strong protest against the word “depression.” Depression, most people know, used to be termed “melancholia,” a word which appears in English as early as the year 1303 and crops up more than once in Chaucer, who in his usage seemed to be aware of its pathological nuances. “Melancholia” would still appear to be a far more apt and evocative word for the blacker forms of the disorder, but it was usurped by a noun with a bland tonality and lacking any magisterial presence, used indifferently to describe an economic decline or a rut in the ground, a true wimp of a word for such a major illness. It may be that the scientist generally held responsible for its currency in modern times, a Johns Hopkins Medical School faculty member justly venerated — the Swiss-born psychiatrist Adolf Meyer — had a tin ear for the finer rhythms of English and therefore was unaware of the semantic damage he had inflicted by offering “depression” as a descriptive noun for such a dreadful and raging disease. Nonetheless, for over seventy-five years the word has slithered innocuously through the language like a slug, leaving little trace of its intrinsic malevolence and preventing, by its very insipidity, a general awareness of the horrible intensity of the disease when out of control.”

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What am I doing? I am writing a book.

This is how Hilary Mantel got started, from The New Yorker

“The first novel that Hilary Mantel wrote was about the French Revolution. It did not start out as a novel, exactly, nor did she start out as a novelist. It was 1975, and she was twenty-three, living in Manchester and selling dresses in a department store. She had realized that she didn’t have the money to finish her legal training, and, after a year working in a geriatric hospital, that she didn’t want to be a social worker. She was bored with selling dresses; she had started taking books about the French Revolution out of the library, one after another. Then she began taking notes. After she had been doing this for some time, she asked herself, What am I doing? And the answer came: I am writing a book.”

Going out with Don

Going out with Don

For the last day of this incomprehensible year of 2016 I have pulled together a few quotes from that master chronicler of the American condition, Don DeLillo.  I have not yet read his latest, a meditation on death and how to cheat it, Zero K (only dipped into it), but even as far back as the much earlier Great Jones Street (1973), DeLillo has consistently shown his fascination with that American obsession, death .. and how we think to cheat it.

“Television.  Maybe it was all a study in the art of mummification.  The effect of the medium is so evanescent that those who work in its time apparatus feel the need to preserve themselves, delivering their bodies to be lacquered and trussed, sprayed with the rest of pressurized jellies, all to one end, a release from the perilous context of time.  This is their only vanity, to expect to dwell forever in hermetic sub-corridors, free of every ravage, secure as old kings asleep in sodium.”
Don De Lillo, Great Jones Street (1973)

Making things difficult for the reader is less an attack on the reader than it is on the age and its facile knowledge-market.
Don DeLillo

When it comes to writers being obsessed, I have one notion. Obsession as a state seems so close to the natural condition of a novelist at work on a book, that there may be nothing else to say about it.
DonDeLillo, from the 1979 interview with Tom LeClair.

The future belongs to crowds -DonDeLillo, Mao II (1991)

Rachel Cusk on Writing

This is from the LRB, 4 December 2014:

“She (Rachel Cusk) was reading Knausgaard, and coming to think that the whole idea and practice of fiction, as conventionally understood, is ‘fake and embarrassing .. utterly ridiculous’.  The real point of writing, her piece quotes Knausgaard as saying, is not to do with making things up, but with ‘drawing the essence of what we know out of the shadows… Not what happens there, nor what actions are played out there, but the there itself’ — and this is where, in Cusk’s view, creative writing courses come in.  People come along as a first step in the effort to start uncovering and developing their own self-relations and their relations to the world.  ‘Very often a desire to write is a desire to live more honestly through language … The notion of “finding your voice”, simplistic as it may sound, is … a social goal.””

Pluck and Courage

For those of you interested in book descriptions, here’s one to wrap your head around.  A family member is arrested for killing a hula dancer … which doesn’t happen every day.  This is in the “cozy mystery” category of BookBub, which evidently means no bone and gristle allowed.  And also evidently means gender demeaning descriptions such as “pluck and courage”.
Dying for a Daiquiri by Cindy Sample

Laurel is looking forward to attending a beautiful Hawaiian wedding, but her vacation turns deadly when a family member is arrested for killing a hula dancer. Does she have the pluck and courage to solve the case?

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Available for a limited time

What fiction is for

This remarkable quote is from President Obama, speaking with Marilynne Robinson

Are you somebody who worries about people not reading novels anymore? And do you think that has an impact on the culture? When I think about how I understand my role as citizen, setting aside being president, and the most important set of understandings that I bring to that position of citizen, the most important stuff I’ve learned I think I’ve learned from novels. It has to do with empathy. It has to do with being comfortable with the notion that the world is complicated and full of grays, but there’s still truth there to be found, and that you have to strive for that and work for that. And the notion that it’s possible to connect with some[one] else even though they’re very different from you.