Gateway to Understanding

Is emotion the gateway to reason or is it an obstacle to understanding?

I had always believed in the power of the intellect, that an educated intelligence should be sufficient to decode the clues and understand the opportunities and conflicts we all face. Now I’m not so sure. In fact, I’m pretty sure the opposite is true; it is only through emotional engagement that we can truly understand anything at all. How we respond to art offers a window.

Angle of Reflection contains a scene in a museum where Ben and Emma are discussing a Picasso exhibit. Ben is able to admire the technique and appreciate the results from an intellectual distance but maintains that Picasso never moves him. (Let’s assume he’s never seen Guernica.) Emma tells him it may yet happen and to beware of sealing his emotions in today’s opinion.

Later he reflects on a painting that moved him more than most: Vermeer’s, A Maid Asleep. “I couldn’t turn away. I was immediately and profoundly drawn into that world, I could walk into that woman’s dreams and imagine stories that explained all the elements Vermeer chose to include.” We can’t know whether the artist had the same stories in mind but it doesn’t matter, what is significant is that the emotional reaction to the image made the content knowable.

Here’s where we get back to the question of antidepressant medication: it is my contention that one of the severe effects of many years on SSRIs was a stifling of emotion, which led to a failure to understand what was happening to me. I couldn’t get to it because I couldn’t feel it.

I’m not the first to report this. “SSRIs also cause a multitude of troubling side effects. These include sexual dysfunction, suppression of REM sleep, muscle tics, fatigue, emotional blunting, and apathy. In addition, investigators have reported that long-term use is associated with memory impairment, problem-solving difficulties, loss of creativity, and learning deficiencies.” Robert Whitaker: Anatomy of an Epidemic, Broadway Books, Random House, 2010.

I’m beginning to feel that I’m nearing the finish line for Angle. Could be wrong, of course, I’ve thought this before, then I sent it to my editor. I began to wonder how you know when you’re done with a novel. There is no requirement for length, no facts that have to be explained, no rules to follow. Thinking won’t get you there. I suppose you can say that it’s finished when someone decides to publish it, but Fitzgerald was still trying to rewrite Gatsby as it was on the press. I asked a friend who is a wonderful painter how she knew when a painting was finished. She said: “I don’t know, I just feel it.”

Feels right to me.

©2015 Ron Scherl

Mom

Mom is 97 years old, suffering from severe dementia; her mind is no longer connected to reality, yet the burden of her body continues. One dark, unseeing eye bulges out of her head; the other struggles to focus through a cataract. She cannot hear much. Her arms are covered with purple bruises, her legs bandaged to cover skin too thin to protect her. She is tiny, except for a severely bloated stomach that houses the tumor that refuses to kill her.

Her thoughts are trapped somewhere between disappointment and fantasy, in a world that never existed. It was never a happy life and that it continues in this painful demented manner is a terribly cruel punishment. She lost her parents at the age of twelve: her mother died, her father sent her away. She never recovered. Such an unhappy life that refuses to end.

Yet there is nothing we can do. We cannot end her life. That decision is not for us to make. She is in pain, partially controlled by morphine. She is agitated: perhaps frustrated by growing mental incapacity, perhaps fearing death. Xanax helps a little. She is depressed, always has been, and there is Zoloft for that. This is maintenance, not life. We give her all these meds because she is demented and we fear she will succumb to the pain and despair and kill herself. What is rational behavior in this circumstance? Is it reasonable to preserve a worn out body by controlling a dysfunctional brain with drugs that render her senseless?

She can no longer make her wishes known to us, but this is consistent with a life-long pattern. In our family, no one ever makes clear what she really needs; we all persist in equivocating and deferring until we get what we want because some decision had to be made, or, more frequently, just move on, unsatisfied and slightly resentful. So mom wouldn’t tell us what she wanted when she was able, now she cannot.

She was frightened when we first arrived, not knowing my sister and I, perhaps thinking we were the ones who would take her away. I sat with her a while, holding her hand, offering what comfort I had to give. She became calmer. I wanted to will her to die. I told her to let go. She would fall asleep, I’d watch her breathe, wanting to make it stop. Then she’d wake with a small spasm, turn to me unable to see, not knowing who I was. Once she said she wanted to go home and I thought she really wanted to die, but it may be that she was still looking for a place for herself that she had never been able to find.

We were going to take her away, we came to move her to a home for people with dementia, but there’s not enough left to move. She is beyond the attention they would give her, more dead than alive.

There is nothing to be done. She has an aide who bathes her, feeds her, changes her diapers, and laughs at her plight in the kindest way. “That’s what they do when they get old,” she says, and then cleans up the mess. She makes her comfortable and mom kisses her hand in appreciation.

We don’t handle death very well in our culture, partly because we have huge industries manufacturing drugs and services whose sole purpose is the preservation of life, regardless of the quality of that life. We crucified Kevorkian and only a few states allow a person to choose the time and manner of death. We consider suicide to be insane. We need to rethink our priorities and reimagine our death. There comes a time, as in mom’s case, when preserving a useless body is the truly irrational act.

 

Ben and Sarah Talk About Medication

“Ben, you need the meds. They help you function. They’ll help you make sense of things.”

“No, they make it worse. I can function. I’m not even sure I could write a novel if I were taking them. I mean. I’ve never written one before, never tried while I was on the drugs.”

“Ben, listen to me. I’ve known you and loved you for a long time. You have depression. You can’t change that. It’s some kind of chemical imbalance and the meds get you part of the way back. Going off the medication only makes it worse.”

“I don’t think it does. I think I’m pretty stable. I just wish I slept better. But there’s something that keeps me from making a real connection to others, to someone I really need, like Emma. And I think it’s the meds.”

“Think, Ben, maybe it’s not you or the meds, maybe it’s her. It’s not hard to imagine that your relationship just isn’t right for her.”

Ben fell silent for a moment, just long enough to consider that and reject it. “But what if that’s true because she hasn’t been able to get close enough, because I won’t let her, even if I think I am?”

“Ben, what separates you from connection, from emotion, is not the meds; it’s the depression. Think back to before you were on the drugs. Remember your family, how you always felt disconnected. That’s who you are. It’s not what the drugs do to you. You know this. I’ve heard you say it yourself. Please trust me.”

“Sarah, I know you mean well; I’m just not sure you’re right. You’ve been on these meds as long, maybe longer than me. Maybe this creates a challenge to you. Maybe I’m leaving your sphere of influence and that threatens you. It shouldn’t. It has nothing to do with you. This is about me, only me. I really want to write this novel and I think I have to get as close to the bone as possible to do it. I can’t be removed and dispassionate and still convey passion.”

“That’s nonsense Ben and you know it. You’re confusing your book and your life and making about as much sense as a Raymond Chandler plot. You don’t have to experience something to be able to write about it; did you have to drive into that cliff so you could write about it, or did we have that accident because your mind was elsewhere?”

“God damn it, Sarah. It’s my fucking life. Stop trying to produce it.” His anger was so rare, it startled both of them. Sarah was reeling. This just wasn’t Ben. “You’re wrong, Sarah, this is me. Me without the drugs. Me being honest. Not afraid of the anger. I need to feel this.”

“Ben, I don’t know what to say. You have reasons to be angry with me but this isn’t one of them. I’m trying to help.”

Angle of Reflection 

©2015 Ron Scherl