Complaints of feeling cut off, shut off, out of touch, feeling apart or strange, of things being out of focus or unreal, of not feeling one with people, or of the point having gone out of life, interest flagging, things seeming futile and meaningless, all describe in various ways this state of mind. Patients usually call it 'depression', but it lacks the heavy, black, inner sense of brooding, of anger and of guilt, which are not difficult to discover in classic depression. Depression is really a more extraverted state of mind, which, while the patient is turning his aggression inwards against himself, is part of a struggle not to break out into overt angry and aggressive behaviour. The states described above are rather the 'schizoid states'. They are definitely introverted. Depression is object-relational. The schizoid person has renounced objects, even though he still needs them.
In middle school I played against you once. And lost. I was so frustrated that I continued practicing even after I retired... And then when I entered high school, hell yeah, I laughed. The guy I vowed to defeat no matter what was standing right in front of me as one of my own teammates. But now it's pointless to hold a grudge. Rather, I wanted to make you recognize me. (Takao Kazunari)
So they went out for a walk. They went through narrow, lightless lanes, where houses that were silent but gave out smells of fish and boiled rice stood on either side of the road. There was not a single tree in sight; no breeze and no sound but the vaguely musical humming of mosquitoes. Once, an ancient taxi wheezed past, taking a short-cut through the lane into the main road, like a comic vintage car passing through a film-set showing the Twenties into the film-set of the present, passing from black and white into colour. But why did these houses – for instance, that one with the tall, ornate iron gates and a watchman dozing on a stool, which gave the impression that the family had valuables locked away inside, or that other one with the small porch and the painted door, which gave the impression that whenever there was a feast or a wedding all the relatives would be invited, and there would be so many relatives that some of them, probably the young men and women, would be sitting bunched together on the cramped porch because there would be no more space inside, talking eloquently about something that didn’t really require eloquence, laughing uproariously at a joke that wasn’t really very funny, or this next house with an old man relaxing in his easy-chair on the verandah, fanning himself with a local Sunday newspaper, or this small, shabby house with the girl Sandeep glimpsed through a window, sitting in a bare, ill-furnished room, memorising a text by candlelight, repeating suffixes and prefixes from a Bengali grammar over and over to herself – why did these houses seem to suggest that an infinitely interesting story might be woven around them? And yet the story would never be a satisfying one, because the writer, like Sandeep, would be too caught up in jotting down the irrelevances and digressions that make up lives, and the life of a city, rather than a good story – till the reader would shout "Come to the point!" – and there would be no point, except the girl memorising the rules of grammar, the old man in the easy-chair fanning himself, and the house with the small, empty porch which was crowded, paradoxically, with many memories and possibilities. The "real" story, with its beginning, middle and conclusion, would never be told, because it did not exist.