Showing 111 - 120 of 380 annotations tagged with the keyword "Mental Illness"
Poets on Prozac contains sixteen essays written by poets about their individual struggles with a variety of psychiatric disorders. The editor, physician and poet Richard Berlin, has gathered these essays in order to examine, and shatter, the long-standing notion that madness, particularly madness in poets, enhances creativity---we need only think of the myths surrounding writers such as Sylvia Plath and Dylan Thomas to understand how the relationship between madness and creativity might foster both fear and longing in novice writers.
In his informative and comprehensive introduction, Berlin poses these, and other, questions: "Do poets need to be mentally ill to produce great work? What is the influence of substance use/abuse? Does a person have to be 'crazy' to write good poetry? What do poets themselves define as crucial elements in their creative process?" (p. 2). He goes on to site current evidence that madness actually impedes creativity, as well as evidence that "some forms of mental illness may enhance, or at least coexist, with creativity" (pp. 4-5); he reviews the findings of researchers who have looked at "The Myth of Inspiration" and "The Myth of Very Special Talent" in creative persons (pp 6-7).
But it is in the wonderful essays themselves that we take a privileged peek into the lives, the often tortured lives, of successful poets (Berlin only considered the essays of poets who had published at least one book). Reading the essays is somewhat like eavesdropping on the therapy sessions of highly articulate and self-aware patients. Clearly Berlin has created a safe place for these writers to look again at their creative lives and how those lives intertwine with, and sometimes have been overgrown by, mental illness. All the essays, happily, come to a place of resolution; the writers find, in various degrees, that understanding or relieving their emotional distress results in the possibility of increased creativity. Along the way, they give us writing alive with metaphors, images and intelligent musings on art, poetry, life and suffering.
In the first essay, "Dark Gifts," Gwyneth Lewis writes about her depression: "I became Woman in a Dressing Gown. At my worst, the duvet on my bed looked like a body bag and I was the corpse inside it" (p. 13). Finally she concludes, "I've learned that depression is one of the most reliable guardians of my life as a poet. It's like a fuse in a house with suspect wiring" (p. 22). In his essay, Andrew Hudgins describes cortisone psychosis this way: "I was a fire station in which the alarm bells seldom stopped clanging and the firemen were exhausted and indifferent" (p. 163). In "The Desire to Think Clearly," J. D. Smith says, "Being a poet in despair does not necessarily make one a poet of despair" (p. 23). As most of the poets do, Denise Duhamel uses examples of poems within her essay to demonstrate how her illness, in this case bulimia, variously inhibited or influenced her writing. The rawness of illness shows up, again and again, in her ability to be brave and resolute in her poems: "I'm still working it out, as they say, as therapists say, as my friends say, / as I guess I'm saying now in this poem" (p. 37).
Many of the poets approach their illness histories with wry humor or pointed irony. Caterina Eppolito states that "Poetic form is an anorexic form of writing. So instead of restricting calories, I was restricting words" (p. 118). Ren Powell asks, "Maybe when it's all over I can ask my children if they think the days of dancing in the kitchen were worth the days I spent shut away in the bedroom" (p. 52). Powell, like most of the authors in this anthology, honors hard work at the craft as the measure of success, and says, "If I have any success at all as a writer it is as much despite my disorder as because of it" (p. 57). Other writers admit wondering, sometimes, if their writing success might be due to their disorders. Jesse Millner writes, "After all, wasn't it the melancholy that led me to write?" (p. 67). Most writers agree that abusing substances did not enhance but sidetracked their poetic energies, while prescribed medications often, as Jack Coulehan says, helped: "The obsessive traits softened, so I felt free to approach life in a more flexible manner. Despite this new experience of freedom, my productivity did not suffer; in fact, it increased" (p. 101).
The chemical basis for some mental disorders is acknowledged in many of the essays. In her discussion of postpartum depression, Martha Silano notes, "I'd simply woken up in a foreign country without a map, without a dictionary, with no way to understand this strange place" (p. 142). Silano, like others in this collection, found that once the chemical imbalance was corrected, something good happened to the writing---she moved from writing about her own personal experience to writing that reached beyond her fears: "Now I was writing poems with a more universal, all-encompassing vision" (p. 146). Liza Porter says it this way: "Voice comes from safety. Silence becomes words. The truth can be told" (p. 153). But the downside of medication is admitted as well. Chase Twitchell laments the loss of "metaphor-making," and compares it---in quite a fine metaphor---to someone turning "off the spigot" (p. 176). "It takes longer and requires far more doggedness than it did before medications" (p. 176). But medications also give many of these poets what Vanessa Haley names "the emotional insight and stamina to write" (p. 76). If these excellent essays are any indication, they are, and will continue to be, writing extraordinarily well.
Summary:This volume belongs in the category of cross-cultural studies of medicine and the humanities. Its main audience is scholars of nineteenth-century American psychiatry and culture. The author divides his study into six chapters, each with a topic, including the simultaneous emergence of nineteenth-century public debate about improving the treatment of insanity and the movement to abolish slavery; cultural activities in asylums directed toward humanizing the patients; bardolatry in British and American medical circles; discussions of Emerson, Hawthorne, Poe, and Melville in the context of their literary and personal relationship with madness; a chapter on captivity narratives and popular novels by former female and male patients; and an epilogue.
Summary:Subitled, Invisible Wounds of War. Psychological and Cognitive Injuries, Their Consequences, and Services to Assist Recovery, this monograph features 27 contributing researchers. Published by the RAND Corporation, it is funded by a grant from the Iraq Afghanistan Deployment Impact Fund. The study was conducted under the joint auspices of the Center for Military Health Policy Research, a RAND Health Center, and the Forces and Resources Policy Center of the National Security Research Division of the RAND Corporation.
Summary:The 2005 documentary film, The Devil and Daniel Johnston, tells the story of Daniel Johnston, a mentally ill artist whose drawings have been exhibited and sold worldwide; whose music has been recorded by Beck, Wilco, Nirvana, Sonic Youth, and Pearl Jam; and whose fans include the actor, Johnny Depp and Simpsons creator, Matt Groening. Diagnosed with manic depression complicated by delusions of grandeur, Daniel has spent the last three decades of his life in and out of mental hospitals. His wild fluctuations, downward spirals, and periodic respites are chronicled in the film through compelling interviews, home movies, recorded tapes, and performance footage. The title is an allusion to Johnston's intense Christian beliefs and his spiritual war with Satan.
Summary:Written by a psychiatrist and historian, American Melancholy: Constructions of Depression in the Twentieth Century looks at how culture, politics and, in particular, gender have played a role in the development of a diagnosis. Hirshbein moves between several different worlds, showing how they intercalate and, indeed, are very much part of the same world: psychiatric nosology and cultural attitudes to the gendered expression of emotion and feelings, medication trials and magazine advice to women about how they should deal with the blues, the relations between treatment paradigms and how society views suffering.
One of Steinbeck's earliest published works, The Pastures of Heaven is a collection of stories about the inhabitants of a fertile valley in California, beginning with the Spanish corporal who first stumbles across the "long valley floored with green pasturage on which a herd of deer browsed" and concluding with the families living there during the first stages of the great depression. Most of the stories take place in 1928-1929, although many are rooted in flashbacks and narratives that span the generations before.
The novel consists of short stories that describe particular times and places within the valley, and collectively form multiple different perspectives on life there; they are linked by the valley but also by the relationships between the families, and in particular, the Munroes, whose pleasant, mild appearance in almost every story heralds disaster.
Summary:This three-part BBC television miniseries centers on the large weekend reunion of a prosperous Anglo-Jewish family at a luxurious West End hotel. Various family members discover one another and uncover family stories and secrets that reorient them in their lives. Writer-Director Stephen Poliakoff does not adhere to a conventional story structure, and this wandering tale is full of unexpected and rewarding narrative dips and turns.
Summary:Send in the Idiots is a witty and moving tale of reunion, part memoir and part journalistic character study. Nazeer, hailing from a Pakistani family that has lived in the United States, Great Britain, Saudi Arabia and Pakistan, returns to the United States, where he had attended a school for autistic children during his early youth. He tracks down some of those who were also at that school with him, in order to find out how they are doing, what they are doing, and how their autism has affected their lives. He locates three people who were in the same class as he was and goes to visit them; he finds the family of a fourth; and finally sits down and has a slice of cheesecake with their former teacher and principal. Now a civil servant in the English government, Nazeer visits Andre, a computer scientist who makes uses of puppets to facilitate communication; Randall, a bike courier in Chicago and poet; and Chris, a speechwriter in Washington, DC. He then stays with the parents of Elizabeth, who had committed suicide a few years before, and through them finds out about her life, and about how parents may cope in the aftermath of such an awful catastrophe. Finally, he meets with Rebecca, who had been one of their teachers, and Ira, the prinicipal of the school, which has since shut down.
Summary:This collection of stories offers a sidelong view of medicine from the perspective of a thoughtful, experienced doctor of internal medicine at a teaching institution (UCSF) in an urban setting that brings a wide variety of types of patients to his door. In a context of evident respect and admiration for even the quirkiest of them, Watts admits to the kinds of personal responses most have been trained to hide-laughter, anger, bewilderment, frustration, empathetic sorrow. The cases he recounts include several whose inexplicabilities ultimately require action based as much on intuition as on science. He includes several stories of illness among his own family and friends, and makes it clear in others how his professional decisions affect his home life and his own state of mind.