Sometimes I hear the world discussed as the realm of men. This is not my experience. I have watched men fall to the ground like leaves. They were swept up as memories, and burned. History owns them. These men were petrified in both senses of the word: paralyzed and turned to stone. Their refusal to express feeling killed them. Anachronistic men. Those poor, poor boys.
The self-esteem of western women is founded on physical being (body mass index, youth, beauty). This creates a tricky emphasis on image, but the internalized locus of self-worth saves lives. Western men are very different. In externalizing the source of their self-esteem, they surrender all emotional independence. (Conquest requires two parties, after all.) A man cannot feel like a man without a partner, corporation, team. Manhood is a game played on the terrain of opposites. It thus follows that male sense of self disintegrates when the Other is absent.
My generation was, in effect, the product of a social experiment. If we did not understand marital intimacy, it was because we had not seen it modelled. We lurched from relationship to relationship, dazzled by the newness of meaninglessness, relentless in our search for something even the most perceptive of us could not identify.
Strauss admits to being obsessed by his mother's rejection, and with the resultant rents in self-esteem. The Game echoes with disturbingly abusive comments leveled at his adolescent self, a self he feels was unacceptable. With bravado, he expresses regret that he didn’t rack up more sexual conquests in his teens; in person, he expresses a truer regret that he was intimidated by life itself.
Repudiating the vulnerability I felt had wrecked the lives of women around me, I modelled myself on my controlled father. I wanted his freedom and his focus. To him, a family was an aquarium: controlled, contained. To the women I knew, a family was everything.
There were times when I would sob until I shook, until my eyelids were so swollen that it pained me to open them, and through hiccoughs, trembling, I would hiss, don’t touch me! as he moved to place a gentle hand on my shoulder. There were times when we seemed locked into our chairs, discrete, the static between us more eloquent than words. But there was never a moment when I doubted Peter’s ability to heal me.
For years, I worked seven-day weeks, through birthdays and most public holidays, Christmases and New Year’s Eves included. I worked mornings and afternoons, resuming work after dinner. I remember feeling as if life were a protracted exercise in pulling myself out of a well by a rope, and that rope was work.
Time is ungovernable, but grief presents us with a choice: what do we do with the savage energies of bereavement? What do we do with the memory - or in the memory - of the beloved? Some commemorate love with statuary, but behavior, too, is a memorial, as is a well-lived life. In death, there is always the promise of hope. The key is opening, rather than numbing, ourselves to pain. Above all, we must show our children how to celebrate existence in all its beauty, and how to get up after life has knocked us down, time and again. Half-dead, we stand. And together, we salute love. Because in the end, that's all that matters. How hard we loved, and how hard we tried.
The light in that room was a glow; I seem to remember the color green, or perhaps flowers. A pale green sheet covered his inert body but not his head, which lay (eyes closed, mouth set in a tense and terrible grimace) unmoving. Gianluca. Barely able to see, barely able to stand - my knees kept buckling – and breathing so quietly I thought that I, too, might die; that out of shock, I would just drift away, the shell of my body cracking open. No longer anchored by my brother’s love, I would be reabsorbed by sky. Gianluca. If there was never another sound in the world, I would understand – yes, that would be appropriate, it would be fitting. This was the antithesis of music, the antithesis of noise. My brother’s death seemed to demand silence of all the world. Gianluca.
Marriage is never static. There are peaks and troughs, cycles. It is easy to forget that this shifting landscape is really only ever a reflection of the self. Our capacity for attachment determines the kind of mate we attract, and it is through this mate that we are forever transformed – marriage as alchemy, but also as a mirror.
Classifying depression as an illness serves the psychiatric community and pharmaceutical corporations well; it also soothes the frightened, guilty, indifferent, busy, sadistic, and unschooled. To understand depression as a call for life-changes is not profitable. Stagnation is not a medical term. The 17.5 million Americans diagnosed as suffering a major depression in 1997 were mostly damned. (Psychobiological examinations confuse cause and symptom.) Deficient serotonergic functioning, ventral prefrontal cerebral cortex, dis-inhibition of impulsive-aggressive behavior, blah blah blah: the medical lexicon boils emotion from human being. Go take a drug, the doctor says. Pain is a biochemical phenomenon. Erase all memory.
Does any man have the right to dispose of his own life? This is the ultimate question of moral entitlement, and relevant only if right is relevant in this context, and it is not. A suicidal man cannot be concerned - and nor should he be - with questions of moral entitlement. (And how absurd.) His one concern should be whether self-execution will most expediently relieve his suffering.
This human need for mysticism – surrender to an unknown truth, union – stands at the helm of all romantic feeling. It is, in essence, the same intimacy known in a mother’s arms; in those who are deprived of the experience, the need freezes and, distorted, it can rent a life. All addiction has as its foundation skewed yearning for the same transcendence. For me, the spell of the material was broken by my brother’s death; after his suicide, all I wanted was the renewal of my connection to the intangible.
Secret elisions within families are suddenly revealed by self-execution, and just as quickly sheeted with excuses, blame, and counter-blame. But sense is made of the world only through relationship between action and reaction, symptom and cause. No change is possible without analysis of accountability.
One of the biggest misconceptions remains that Neil Gaiman spent his youth lurching from bedsit to library and back again, subsisting on a diet of blood-temperature baked beans and the wild leeks he managed to pull from the side of a disused railway track. It is a misconception that he nurtures, whether consciously or otherwise, through omission.
To cope, he and his siblings – older and younger sisters, a younger brother - created a game called Henry Kissinger. Palahniuk remembers that as their parents fought, lots would be drawn to see who would play Kissinger. 'This was the early to mid-70s, when Kissinger was a hero, forging peace in the Middle East,' he explains. 'Whoever became Henry Kissinger would have to go and redirect our parents’ attention or anger to a different crisis.' The child who drew the short straw would severely hurt himself, presenting himself as 'this injured thing' in an effort to diffuse conflict.
I remember everything,' Bette Midler flatly notes. 'But you know how in life, you tend to hold grudges? Well, I don’t do that any more. Bad, bad stuff. I did as a young person, but it just wore me out. Oh, it really did! How many times can you wake up in the middle of the night gnashing your teeth? It’s so boring. Give it up!
In the absence of any therapy, the mentally ill of the 20th century were chained, shackled, straitjacketed, kept nude, electrocuted, half-frozen, parboiled, violently hosed, wrapped in wet canvas, confined to “mummy bags”, subjected to insulin-induced hypoglycemic comas, forced into seizures with massive doses of the stimulant Metrazol, injected with camphor, drugged into three-week comas with barbiturates and tranquilizers, involuntarily sterilized, and surgically mutilated. Rape by hospital staff was common, as was humiliation and verbal abuse. One reporter noted that a state hospital patient had been restrained for so long that his skin was beginning to grow around the leather straps.
On first hearing that little voice – as fine and friable, I felt, as cotton thread, the impact on my soul was that of the highest magnitude of earthquake, those that occur every hundred years, say, or every thousand. The old shell I called myself cracked and was swallowed by a sudden crevasse, and just as suddenly was lost in the commotion.
Delirious as it can be, sex is only one kind of intimacy, and yet has become the cultural catchment area for all kinds of needs because our understanding of intimacy is so poor. Brutal work schedules, related geographic isolation, and the concomitant fracturing of families has meant that there is little time for intimacy, and even less to teach the necessary skills. But intimacy, the axis of romance, is slow, based on the sharing of a life rather than show. In terms of intimacy, folding laundry together or sharing the feeding of a child can have more impact than the most extravagant bouquet.
We watched each other evolve into parents, with all the fear, rage and confusion evolution can involve. Our eight-year-old is the incarnation of our union; we are forever fused by her blood. My old take on romance seemed vaguely ludicrous, as affected as a pair of spats. I no longer saw the point in 'getting back to normal', that pantomime of pretending nothing had changed; I wanted to evolve from sexual posturing into a deeper consciousness, that of love.
My handsome husband and I didn’t make love for almost six months. I was enraptured, lost to my old life, and, in this obsession, disregarded author Ayelet Waldman – who famously wrote of her 'smug well-being' and 'always vital, even torrid' sex life in the wake of childbirth: I ignored my husband as a man. Instead, I revelled in him as a different thing altogether, far more seductive and important, and infinitely more resonant. My husband was no longer just a man: he was the father of my child.
Ninety-six per cent of juvenile prostitutes are fugitives from abusive domestic situations; 66 per cent began working before they turned 16. (Prostitution is their only perceived means of survival.) Millions of children work as prostitutes around the world. A third are male. One study revealed that over 50 per cent of prostitutes are the children of alcoholics or substance abusers, and 90 per cent are deflowered through incest or rape. Ninety-one per cent of prostitutes do not speak of the abuse. (The truth of life is told through the language of behavior.) Abused children suffer Post-Traumatic Stress Disorder, guilt, self-destructive impulses, suspicion, fear. Seventy-five per cent of prostitutes attempt suicide. (Imagine their scrapbook of memories.)
Corruption,' Jordan Belfort believes, 'is endemic to human being. I mean, even men in monasteries - where enticement is hard to come by – even men in those circumstances have sex with other men and abuse children. Look at the Catholic Church! Man is an imperfect animal and he is corruptible, okay? And in finance, the liquid nature of the market makes corruption very easy. On Wall Street, this liquidity is so in your face -' he suddenly grits his teeth - 'that if you have even the slightest predisposition to the dark side, you become corrupted. In addition to which, those attracted to Wall Street have a predisposition to greed.
Stirton's work, he says, is now all about investigation. 'You literally are trying to find out what's happening and, finally, manoeuvre yourself to the point where you can take a picture, and then you're presented with a 20-minute window where it's: Okay, now get your picture!' His voice is charged with emotion. 'Fucking angst and worry and, you know, FEAR of failure – every aspect of that comes into those 20 minutes, so it's a very intense experience. So when I make those pictures, I'm worried; I’m nervous.
What's required of me in the field is to feel,' Stirton says with emphasis. 'And trying to take that feeling and put it in a form that communicates a particular set of emotions or circumstances - whether that involves depicting masculine pride, or a particular kind of suffering, or love, or closeness - my primary job is to feel and to try to put that feeling into some kind of visual form. My goal is to get to the heart of each story, you know? I’m trying to evolve in my work.
I don't know why I wanted a girl,' he says, as if to himself. 'I mean, I wouldn't swap Louis, but when they said, 'It's a boy!', I thought: 'Oh, well.' Everyone else was incredibly pleased that it was a boy – grandparents are always very pleased when it's a boy for some reason. Another one's on the way, and I hope it's going to be a girl. After that, I'll stop. I think it can be a real mistake to sort of plug away for a particular sex … you end up having millions and they're all boys.