Tropical Koan

Susan sent me an email, having read a review of a book on the depressing topic of…depression.

“Depressing,” because, according to the article—well, here’s a quote:

At any given point, 22% of the population exhibit at least one symptom of depression and the World Health Organization projects that by 2030, depression will have led to more worldwide disability and lives lost than any other affliction, including cancer, stroke, heart disease, accidents, and even war.

Well, I turned to the review, and was stopped in my initial tracks by the first sentence:

“Depression is a disorder of the ‘I,’ failing in your own eyes relative to your goals,” legendary psychologist Martin Seligman observed in his essential treatise on learned optimism.

Yeah? So who is Martin Seligman, legendary though he may be? And what the hell does he know about depression? Has he ever been trapped in a toilet stall, has he ever had a crying jag he couldn’t stop, has he ever sat at a computer and looked at the screen and felt his mind turn to mush and realize that his thinking has slowed so far down that his thoughts can’t make it up to the surface? So that email that he has to write? He can’t concentrate, he can’t focus—all he can do is sit there numbly and mutely and hope that, in some way, the governor will sign the reprieve. Because, let’s be clear—there is no chance whatsoever that anything he does will affect in any way how he is feeling. Why? Because he is not feeling.

Or is he? Because he’s been crying, sobbing, and he’s been ruminating.

Maybe you don’t know….

Ruminating is not—not where he is—pondering a problem deeply. No, ruminating is the incessant—shouldn’t it be incesssssssssssssssssssssssssssssssssssssssssssssssssant?—repetition of a single thought. Today it’s “I want to die.” Yesterday it was “I can’t think.”

Sure, Styron did it better than anyone—myself included—in his book on depression Darkness Visible. But don’t think that he or I or anyone can get this one right. Why? Because, by its nature, depression defies description. It’s a black hole, where any light shone into it is lost, consumed. And when, at last, the master of the universe relents and you’re out, the very memory of it has been consumed as well.

So the legendary Martin Seligman has pronounced himself on depression—how very nice! At best, it accounts for one and only one of the many depressions. Because when I went from 10 milligrams to 20 milligrams of one drug and began to take 15 milligrams of another, guess what? I began humming to myself as I rode to work.

I’m lucky; as I understand it, the serotonin reuptake inhibitor basically floods all of the brain, and all the receptors, with serotonin. And some of those relate to mood, and some relate to other things having nothing to do with mood. Which means that some people get lots of side effects and remain depressed; the lucky ones like me get relatively few, but a blessed lift in mood.

So do I come down on the side of chemicals, medicines, physiology? No, because what you do with your life changes your brain. That I learned one afternoon as I saw a group of people wearing new clothes—and really terrible ones, at that—waiting to be photographed by a clearly professional photographer.

The “models,” however, were just-as-clearly not professionals. But who were they, I wondered, as I pondered them standing around on the beach under the palm trees? And where was I?

Lolling on my back in the water, after a day of writing and playing music and taking a walk and listening to Monteverdi. I hadn’t made a dime that day, but I was happy. And the people on the beach? They were Wal-Mart employees, who had been chosen to be the models in the newspaper advertising insert.

I had worked for seven years for Wal-Mart, and for many of them I was lethally depressed. I was laid off; I went into crisis. I got out of the crisis and put myself on a schedule, a schedule I still follow. And I was at that moment splashing in the blue Caribbean waters, watching a group of prisoners from a prison I had escaped.

“Escaped,” because merely being laid off would have been “paroled” or perhaps “released.” But the prison I had escaped from wasn’t Wal-Mart—I had escaped from a brutal, decade-long battle against myself. I had willed myself to go to the brink of madness, to stand on the precipice and grant the Gods permission to push me into it.

It wasn’t a psychiatric crisis—or perhaps it was. I had been an angry, impossible steward for a man who had been given great gifts. I had raged at myself, scolded myself, belittled myself, bitten myself….

But wait—it wasn’t “myself.” Because I had had nothing to do with it—I could no more write a book or play the cello than I could scale Mount Everest. My job was to feed him and give him as much water as he needed and exercise him and put the cello into his hands and sit him at the computer and then GET THE HELL AWAY! He’ll play perfectly well on his own.

Wrong—he’ll play infinitely better. Because you know all that criticism for all those years?

Sorry—but it was shit.

The person you see occupies a middle position. I came to know a presence, which to me was the wind. And from this presence, which I call Domine, the cellist gets his talent, and the writer as well. My job is to get him in front of computers and embracing cellos.

I take him to the dentist—just as I brush his teeth. At the end of the day, I read what he’s written, or I listen to him play. ‘Where did that come from,’ I wonder. ‘He’s so good,’ I tell him. ‘Wow!’ I say.

I had made my life a koan, which, for the benefit of my red-squiggling computer, I will define, via Wikipedia:

A kōan (公案?)/ˈkoʊ.ɑːn/; Chinese: 公案; pinyin: gōng'àn; Korean: 공안 (kong'an); Vietnamese: công án) is a story, dialogue, question, or statement, which is used in Zen-practice to provoke the "great doubt", and test a student's progress in Zen practice.

What is the music of a mute cellist?

What happens when the music goes away?

Should it matter if he plays better without the instrument than with it?

None of these fanciful statements are true. I was simply holding on to a small thread of faith, which I could only grasp by observing with agonizing detail how I went about my life. I lost the ability to use a computer, and then stared at my fingers until I could connect my right first digit with an icon that was on my dock. I looked at the icon, absorbed the blue, noted that the downward slash of the small part of the “W” is superimposed over the upward slash. But am I supposed to do a double or a single click?

How many Word documents had I opened before?

And why was I doing it?

I wanted to change something so fundamental about myself that I required a reboot. “Put the detergent on the sponge,” I told him. We were doing dishes—which he generally did by wasting water, slopping water all over the floor, and not paying attention. Now, I had to tell him how to wash the dishes—first you put the soap on the sponge; then you lather, as it were, the coffee cup; then you place the cup with soap still on it on the side of the sink; proceed to the next cup.

The important thing?

There was no abuse in it. Just patient directions—completely explicit, clear, detailed. He didn’t know how to do prosaic stuff, and had been too impatient to learn. And I had berated him for decades about the stuff he really could do.

I blew it a few times; so did he. He was holding on, too, to the thread. Perhaps more than I, he had heard the wind through the palm trees, heard the fronds stir to life, appreciated the swaying green against the constant blue, felt the hand caressing his brow, smiled, looked up, and said…

…Domine.