I
Read Odd Books

Book: In the Realms of the Unreal: “Insane Writings”

Editor: John G. H. Oakes

Type of Book: Non-fiction, collection, mental illness, outsider literature

Why Do I Consider This Book Odd: It studies the writings of people diagnosed with mental illness, including people with schizophrenia and people who spent their lifetime in mental institutions.  It sort of approaches being an “outsider” literature collection.

Availability: Published by Four Walls Eight Windows in 1991, you can get a copy here:

Comments:  It’s no secret that I am a sucker for books about mental illness.  Though many of the books I read are never discussed here, you could get a taste of my mental health reading habits on my dead site, I Read Everything.  As a person who struggles with a relatively mild mental condition (mild in the spectrum – it sucks, don’t get me wrong, but it’s nothing akin to having schizophrenia or bi-polar), I find reading about the illnesses of others illuminating and instructive.  But this book was important to me because it features work by Henry Darger.  The book takes its name from Darger’s work, and features a long sample of his work.  I’m in a Darger mood lately, collecting books about him, reading about him, watching the documentary about him over and over, so it was great when my sister-in-law sent me this book for Yule.

But along with my tendency to want to read about mental illness is my tendency to gather up lists of books I am interested in without knowing a whole lot about the books.  I couldn’t begin to tell you my decision calculus for obtaining a book, because it’s immediate, mercurial and often very shallow.  I sort of approach books the way a kid approaches candy.  I see some chocolate gum and think, “Hey, I like chocolate and gum, so let’s try it.”  And of course it sucks.   This book is not an utter failure, like chocolate gum.  It’s more like a delicious Belgian chocolate with a bitter licorice center.  This book is very interesting on some levels, but at it’s core, the book fails.  In spite of this, this is going to be a very long discussion because even as the book fails at its premise – an attempt to present the works of insane writers without comment – there are elements that are interesting and good enough that they, temporarily at least, overshadow the failure of the premise.  There are snippets of writing from genuinely mentally ill people that resonated with me deeply or troubled me, and the inclusion of two writers who were not really insane, Henry Darger and Mary MacLane, improved the reading experience.

So let me get to the premise problems that harm this collection.  In the Realms of the Unreal is a collection of various writings from people who, in some loose sense, fit the description of being “insane.” Sort of. The writings range from poems to involved works of fiction to intense biographies to snippets of what can only be called word salad. And when you have such a range of works under the heading of “insane writings,” it can make you wonder what the methodology of this book was. In the Editor’s Preface, it sort of explained things, but at the same time, it makes it clear that there really was no methodology beyond what the editors had access to within their parameters of unusual behavior.

From the editorial preface, an attempt is made to explain that insane means a lot of things and that their primary goal was to include a variety of writings, knowing full well some may not pass the sniff-test for true insanity.

An effort was made to include a wide variety of authors: living and dead, free and institutionalized, foreign and American, contemporary and antique.

But even within that paradigm, the editors give themselves a lot of wiggle room. They exclude the works of more famous “insane people,” like Antonin Artaud, because they made a living from their writing, but include Mary MacLane, whose writings were widely popular when they were initially published.  It’s also odd because MacLane was definitely not insane, period, and the explanation for her inclusion is odd.

…MacLane’s work was never accepted into the literary canon. She had the double strike against her of being a woman and an eccentric during a period when society was particularly unforgiving.

The editors also have to explain their inclusion of Henry Darger:

We were looking for unusual poems and stories, often by people who had been or were currently institutionalized – although someone like Henry Darger (whose epic text lent its title to this volume) to our knowledge was never treated for “mental illness.” The amount of material produced by these unusual thinkers has greatly diminished in the modern era, principally because of the use of psychiatric drugs that often dull creativity, even as they help a patient adjust to life in conventional society.

I don’t know what to think of that statement about drugs dulling creativity because in my experience it is definitely untrue and it is often the mantra that so often prevents people who need help from getting it, but okay, let’s just roll with it for the purposes of this book.   And as we roll with it, let’s just accept that “insanity,” for the purposes of this book, is whatever the editors decided it is.

But there is another problem with this collection.  Again, from the editor’s preface:

No common theme to the book should readily emerge. To again borrow a phrase of Roger Cardinal’s, we are exploring an archipelago of ideas, rather than a continent.
[...]
These writings are not presented as clues to someone’s “illness”: they are published for their intrinsic worth.

This approach is problematic.  Writings of genuinely insane people are chaotic at best.  Without a common theme or at least an attempt to classify these writings, the reader is confronted with a wall of illness-influenced words that become amorphous and meaningless without context.  The only divisions in the book are institutional and chronological, which is sort of helpful because one can almost see how anti-psychotic medications changed how mentally ill people interacted with their disease, but even that is not enough to give this work the sort of focus that prevents these works from becoming an assault on even readers who seek out this sort of literature.

Finally, I find the notion that “they are published for their intrinsic worth” to be utterly specious.  Much of the work in this book is not good, and failure to link the work to the illness that may have fueled its creation, in my opinion, strips the works of their worth.  To say that all of these pieces from the insane have intrinsic worth just because they were written by insane people is akin to saying that all diary entries from teenagers have intrinsic worth because they are from teenagers, or that all poems written by people in wheelchairs have intrinsic value because they were written by people in wheelchairs.  It is disingenuous to compile  a book of writings selected not because they were well-written but because they are the works of the “insane” and then tell the reader that one should not look at these works using a framework of insanity.

What other framework can the reader use to determine value?  Most of this book is not genius borne from madness.  It’s just madness.  With the exception of a handful of writers, including Darger and Mary MacLane, these are not the works of natural writers.   These are the works of people with a specific story to tell – the story of being mentally ill.  There is no way to evaluate these writings without discussing the illness and experience of illness that inspired the writing in the first place.  I think culturally we need to understand that 20 years ago, the liberal idea of colorblindness and being “handicapable” were in full swing.  One was not supposed to see color, race, religion, disability or illness.  One was just supposed to see people (leading to the now derided and utterly ridiculous insistence that black, white, pink, or purple, liberals don’t see color, just people).  It’s easy to understand this approach to egalitarianism but such an approach denies the experiences of specific people as we deliberately refuse to see the things that define another person’s experience in this world.

So now that you know that this is an unorganized collection of works from people that may be insane or may not be insane, that the works are not necessarily going to be good, and that I plan to completely ignore the exhortation that we overlook the insanity that may have fueled these writings, let’s discuss the individual components that made this book worth reading.  Read the rest of this entry »

Book: Demons in the Age of Light: A Memoir of Psychosis and Recovery

Author: Whitney Robinson

Type of Book: Non-fiction, memoir, mental illness, psychiatry

Why Do I Consider This Book Odd: In a way it is not odd because psychiatric memoirs are thick on the ground these days. But in a sense this book is very odd because being given an invitation to look into the mind of a person actively suffering from schizophrenia is in and of itself a strange, unsettling experience.

Availability: Published by Process Media in 2011, you can get a copy here:

Comments: Just warning you now, dear reader, that this discussion is going to be one of my trademarked Very Long Discussions with Lots of Quotes from the Book, coupled with a very personal reactions to the text. For those who find a 8000 word or so discussion excessive, here is the tl;dr version: This is a very good book written by a very good writer and you should buy it and read it.

I read a lot of mental health and mental illness memoirs and this was the first one I ever considered odd enough to discuss here. I very nearly missed reading it. I had run into a spate of memoirs that left me cold, and had the online acquaintance who recommended the book to me and then sent me a copy offered it two weeks earlier than she did, I would have declined. But just before she discussed the book with me, I had finished a very good, very honest mental illness memoir, Stacy Pershall’s Loud in the House of Myself: Memoir of a Strange Girl. The offer to read the book came at the right time after the right book.

It would have been a shame to have turned down this book because of the often sorry shelf-company it is forced to share. And I don’t mean to demean the genre because people gets all kinds of help in all kinds of ways that I may find less than helpful. It’s just that lately some of the books I have read wore very thin for me. It seemed like the authors, mostly women, had romanticized their illness. To paraphrase Elizabeth Wurtzel, patron saint of fucked up women of a certain age, they had fallen in love with their illness. The devastation the disease wreaked on their bodies, their education, their relationships – it all was a back story to a fabulous disaster narrative.

Also there is a current theme in mental health studies that posits that mental illnesses, or neurodiversity, are a form of genetic selection for arts, letters and speculative science and therefore celebrate the conditions. I can see the logic. Not only is there a long record of acclaimed people who created great art and propelled science, but as a person with mental illness, I like to think that there is a purpose behind my at times terrible brain chemistry. But I am made uneasy by some of it because even though Van Gogh left behind astonishing paintings and Virginia Woolf left behind masterful prose and John Nash was a great boon to speculative physics, would any of us really want to live their lives? It’s all well and good to see the up side of having appalling brain chemistry, but I often fear that people who are suffering will read such examinations and decide that their affliction should not be treated, should not be seen as a disease that needs to be addressed in order for them to live the best life they can live. As much as I adore Gerard Manley Hopkins’ poetry, and I have no real way of knowing how much his deep depression truly affected his writing, thinking about the sorry end of his life makes it just a little harder to enjoy the beauty and truth of his words. Art that comes from a truly suffering person will always have a pall cast over it.

This book does not engage in the sort of celebration and art uber alles justifications for mental illness that I have encountered as of late. Whitney Robinson’s memoir gets everything right. She shows the wreckage. She shows how mental illness swooped down into her life and changed everything. A natural writer with a near-intimidating intelligence, Robinson tells the story of her illness, the demon that came into her brain, and how she came back out the other side. It is an erudite, honest, and at times darkly humorous look at what it feels like to have your brain behave in ways you have no control over. Schizophrenia is one of the hardest mental illnesses for people to truly understand, and Robinson writes a fascinating book that is never once a freak show. It is never an attempt to glorify conditions that can ransack a person’s life. This book is never a voyeuristic peephole into the at times salacious subject matter of mental illness.

It is a rare invitation to understand. Read the rest of this entry »