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Friday, 02 January 2009 10:54

A Melancholy of Mine Own

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A Melancholy of Mine Own

Communicating the Uncommunicable Reality of Depression

by Joshua Wolf Shenk

After he has awoken, from uneasy dreams, to find himself transformed in his bed into a giant insect, Gregor Samsa's first encounter with the world outside his bedroom comes in the form of his mother's voice. "Gregor," she says. "It's a quarter-to-seven. Hadn't you a train to catch?" When he opens his mouth to answer, Gregor hears a peculiar sound. The voice is "unmistakably his own" but has a "persistent horrible twittering squeak behind it like an undertone that left the words in their clear shape only for the first moment and then rose up reverberating round them to destroy their sense." And so, having at first thought that he would "explain everything," Gregor says only this: "Yes, yes, thank you Mother, I'm getting up now."

In The Metamorphosis, a story about alienation, the first rupture is one of language. Gregor Samsa cannot make himself known to the world. Just as his body has become unrecognizable, inexplicably Other, so has his voice. In this image--more clearly, even, than in Gregor's grotesque physical form--I feel the presence of the author. "I am constantly trying to communicate something incommunicable, to explain something inexplicable," Kafka wrote of himself. He was alienated from language, and even felt trapped by it. But words, metaphors, and stories were his only way out.

Word

When I was a small child, about eight I think, I ripped apart my bedroom in a frenzy. I threw the pencil sharpener off my desk. I pulled the sheets and blankets off my bed and turned over the mattress. I pulled clothes out of their drawers, drawers out of the bureau. Eventually the bureau itself toppled. A few moments later, my mom stood in my doorway and said, with aplomb, "Looks like a tornado has been through here."

Five years later, I stood on the lawn of my father's house, just home from summer camp. My oldest brother drove up the dead-end street in his gray Fiat, and turned left into the short driveway. I ran over to see him. I recall, as I ran, feeling a false expansiveness. I wore a too-wide smile, like a clown scripted for a pratfall. As I began toward the car, my brother leaned over and rolled up the window on the Fiat's passenger side. Then he backed down the driveway and drove away.

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Last modified on Sunday, 11 January 2009 19:20

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