The Plight of an Artist Turns Tragic
Darkness Visible is a radical narration about a dark dreaded disease written by someone who had the skills to spin an emotional yarn about it. In October of 1985, William Styron took a trip to Paris to accept the Prix Mondial Cino del Duca award for humanism. Styron¿s First novel, Lie Down in Darkness, was one of del Duca¿s offerings. Styron¿s state of mind on the 4-day turn-a-round was not good and he would not have accepted the honor at all had he known just how sick he was. The point of revelation came in December the same year. During the time he was in Paris, Styron was taking a minor tranquilizer, Halcion. His pain closely resembled the feeling of drowning or suffocation or being in a trance. One in ten suffer from the illness and artistic types, especially poets, are particularly vulnerable to the disease which takes twenty percent by way of suicide, some of the more well-known are: Ernest Hemingway, Vincent van Gogh, Virginia Woolf, Sylvia Plath, and Anne Sexton. Styron thinks seeds of the illness take root in childhood. Styron was sixty when the disease struck in unipolar form ¾ straight down. Styron abused alcohol for forty years. He said many writers use alcohol as a magic conduit to fantasy and euphoria and enhancement of the imagination. He used it in conjunction with music as a means to let his mind conceive visions that the unaltered, sober brain has no access to. Alcohol was an invaluable senior partner of his intellect. In June before Styron entered the hospital in December, his body rejected alcohol ¾the daily mood bath. The checklist of function failures Styron listed are: disappearance of voice, which becomes wheezy and spasmodic, libido makes an early exit, appetite is lost, sleep disrupted and there is a complete absence of dreams. Exhaustion overtook him, and he got only two or three hours of sleep with the aid of Halcion. Experts in psychopharmacology have warned that the benzodiazephone family of tranqilizers of which Halcion is one (also Valium and Ativan) is capable of depressing one¿s mood and even precipitating a major depression. One night after contemplating suicide, he woke up his wife and was admitted to the hospital the next day. By February, Styron emerged into light, still shaky but, as he described it, the body¿s sweet juices were flowing again. Styron ponders the reason for his illness whether the abrupt withdrawal from alcohol, turning 60, being disconcerted with the way his work was going or the onset of inertia in his writing life. Suicide had been a theme in his books and three major characters killed themselves. Depression had been tapping at his door for decades. Styron¿s father had battled depression and his mother died when he was thirteen. Unable to achieve the catharsis of grief, he carried within himself a burden of rage and guilt. He says many famous writers and artists gave us hints of the vast metaphor of depression in their work: Job, Sophocles and Aeschylus were chroniclers of the human spirit, wrestling with vocabulary to give proper expression to the desolation from Hamlet to Emily Dickinson Gerard Manley Hopkins, John Donne to Hawthorne, and Dostoevski and Poe, Camus and Conrad and Virginia Woolf and even Albrecht Durer¿s engraving. The most faithfully represented is that of Dante, ¿In the middle of the journey of our life, I found myself in a dark wood, For I had lost the right path.¿ For those who have dwelt in depression¿s dark wood, and known its inexplicable agony, their return from the abyss is not unlike the ascent of the poet, trudging upward and upward out of hell¿s black depths. And at last emerging into what he saw as ¿the shining world.¿ There, whoever has been restored to health has almost always been restored to the capacity for serenity and joy. ¿And so we came forth, and once again beheld the stars.¿ Trish New, author of The Thrill of Hope, South State Street Journal, and Memory Flatlined.
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