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From the book
No Tickets for That Altitude
The resident doctor said,
"We are not deep in ideas, imagination or enthusiasm—
how can we help you?"
"These days of only poems and depression—
what can I do with them?
Will they help me to notice
what I cannot bear to look at?"
"Darkness honestly lived through is a place of wonder and life," Robert Lowell wrote. "So much has come from there." It was October 1957 and he was forty, writing poetry "like a house a fire," and taking darkness into "new country." It was, he said, the best writing he had done, "closer to what I know" and "oh how welcome after four silent years." The new poems became the heart of Life Studies, "perhaps the most influential book of modern verse since T. S. Eliot's The Waste Land." The poems, most written at the boil in a few months' time, left their mark: "They have made a conquest," wrote a reviewer. "They have won . . . a major expansion of the territory of poetry."
In December 1957, after his summer and fall blaze of writing, Lowell was admitted to a mental hospital severely psychotic. It was his fifth psychiatric hospitalization in eight years. He was involuntarily committed to the Boston State Hospital and then transferred to the Massachusetts Mental Health Center (until 1956 known as Boston Psychopathic Hospital). In early 1958 he was transferred yet again, this time to McLean Hospital, where his great-great-grandmother had been institutionalized more than a hundred years earlier. The repetition of circumstance was not lost on Lowell; Life Studies had begun with a steeping in his ancestry. Harriet Brackett Spence Lowell, he had come to believe, was the one who had brought poetry into the Lowell line.
Lowell told the doctor who admitted him to the Massachusetts Mental Health Center that the preceding months, September and October 1957, had been "some of his most productive months of writing poetry." It was the pattern he had come to know well: first, the weeks of intense, fiery writing. Then the spike into mania, and finally, as night follows day, the "dust in the blood" of depression. His psychiatrist wrote in Lowell's medical chart what many of his doctors were to observe: "The patient has had a series of breaks," she wrote, "all in the light of unusual literary output." Much had come from the darkness, but not without a cost.
This book is about fire in the blood and darkness; it is about mania and the precarious, deranging altitude to which mania ascends. It is about the poetic imagination and how mania and imagination come together to create great art. But it is as much and more about the vital role of discipline and character in making art from inborn gift. Poetry may come from an unhappy and disordered life, Lowell wrote, "but a huge amount of health has to go into the misery." Without question, Lowell's attacks of mania spurred his work; they also brought pain to him and to those he loved. Things he had done when he was manic haunted him when he was well. They were public and they gave fodder to his detractors. Yet Lowell came back from madness time and again, reentered the fray, and kept intact his friendships. He kept his wit and his capacity to love. He went back to his work.
This faculty for regeneration is uncommon; so too is the courage to face, and to write from, the certainty of impending madness. Creating poetry that expands the territory is rarer still. Lowell's poetic imagination was tethered to an unstable but disciplined mind; it forged his work and branded his life. Mania took his poetry where...
About the Author-
- Kay Redfield Jamison is the Dalio Family Professor in Mood Disorders and a professor of psychiatry at the Johns Hopkins University School of Medicine, as well as an honorary professor of English at the University of St. Andrews in Scotland. She is the author of the national best sellers An Unquiet Mind, Night Falls Fast, and Touched with Fire, and is the coauthor of the standard medical text on bipolar disorder, Manic-Depressive Illness: Bipolar Disorders and Recurrent Depression. Dr. Jamison is a Fellow of the American Academy of Arts and Sciences and the Royal Society of Edinburgh and is a recipient of the Lewis Thomas Prize, the Sarnat International Prize in Mental Health from the National Academy of Medicine, and a John D. and Catherine T. MacArthur Fellowship. She is married to Thomas Traill, a cardiologist at the Johns Hopkins School of Medicine.
November 28, 2016
Jamison (An Unquiet Mind), a psychologist and honorary professor of English at St. Andrew’s University, is uniquely qualified to pursue the connections between creativity and mania—in this case, through the brilliant example of American poet Robert Lowell (1917–1977). He was born into a prominent New England family from which he inherited both deep Puritan roots and a legacy of manic depression. Jamison’s study is a “narrative” of his illness. She is not interested in biography per se, but does place Lowell’s mental health in the context of his life and show his illness’s influence on his poems. Jamison paints a sympathetic but brutally honest portrait of what manic depressive disorder can do to both sufferers and the people around them—her depiction of Lowell’s second wife, critic and fiction author Elizabeth Hardwick, is especially compelling. She is able to draw on medical records from his various hospitalizations, released by Lowell’s family to Jamison, and bring her own medical expertise to bear. Some judicious editing would not go amiss—this is a long read with some repetition—but Jamison has constructed a novel and rewarding way to view Lowell’s life and output.
December 1, 2016
A renowned psychologist connects bipolar disorder to creativity.MacArthur Fellow Jamison (Psychiatry/Johns Hopkins Univ. School of Medicine; Nothing Was the Same: A Memoir, 2009, etc.) brings her professional expertise to an intimate, sensitive, and perceptive account of the illness from which poet Robert Lowell (1917-1977) suffered most of his life: bipolar disorder, characterized by violent mood swings, an illness from which Jamison also suffers. Drawing on Lowell's medical records, Jamison closely examines the course of his disease and the various treatments--psychotherapy, electroconvulsive shock treatments, drug therapy--offered to Lowell as medical knowledge evolved. Mania has a long cultural and scientific history, which the author recounts in fascinating detail. Her focus, though, is on Lowell, who was first hospitalized in 1949; subsequent episodes recurred throughout his life, often requiring monthslong hospital stays. Lithium allowed him longer stretches of stability, but Jamison believes it dampened his creativity. Unfortunately for the narrative--and surely for Lowell--the onslaught and course of illness repeat the same trajectory: "the mind leaps; speech rushes; words ribbon out fast, unbidden, cutting. Ideas and schemes proliferate, alliances shift." Lowell suffered grandiose delusions, hallucinations, religious mania, and impetuous love affairs, much to the dismay of his second wife, the writer Elizabeth Hardwick. Jamison offers chilling testimony of these episodes from Hardwick, Lowell's friends, and his doctors, and she mines Lowell's poetry and letters for his own responses. The author insists, as she has done in previous books, that mania corresponds to artistic brilliance and intellectual prowess; manic patients display "enhanced memory and originality"; biographical studies of individuals of "creative eminence" reveal a high rate of mental disorders; and students who perform exceptionally well in music and language "were four times more likely to be hospitalized later for bipolar disorder" than were average students. Similarly, records of 20 "socially important families" revealed that they were "saturated with manic-depressive psychosis." Jamison argues persuasively that mania fueled Lowell's poetry, but her celebration of psychosis seems to romanticize an affliction that she presents as devastating. A deeply informed investigation of a poet's suffering and creative triumph.
COPYRIGHT(2016) Kirkus Reviews, ALL RIGHTS RESERVED.
September 15, 2016
MacArthur Fellow Jamison, a Johns Hopkins professor of psychiatry whose best sellers include An Unquiet Mind, chronicles major American poet Robert Lowell's forthright showdown with bipolar illness by drawing on unprecedented access to Lowell's medical records, previously unpublished drafts and fragments of poems, and conversations with his daughter. Clarifying the relationship between mental illness and creativity.
Copyright 2016 Library Journal, LLC Used with permission.
- The New York Review of Books "Remarkable. . . . One reads this biography--so full of incident--as one would read a novel."
- The New Yorker "Groundbreaking. . . . A case study of what a person with an extraordinary will, an unwavering sense of vocation, and a huge talent . . . could and could not do about the fact that the defining feature of his gift was also the source of his suffering."
- Andrew Solomon "One of the finest biographies I have read."
- The Washington Post "Impassioned, intellectually thrilling. . . . Empathetic and astute, as heartfelt as it is heartbreaking."
- Vanity Fair "Robert Lowell, Setting the River on Fire is a study in one genius reaching back in time to unpack the psyche of another."
- The New York Times Book Review "Jamison has amassed a wealth of fascinating research about Lowell, which should serve scholars for years to come. . . . But perhaps it is Jamison's personal take on mania that is finally most valuable. She knows the disease from bittersweet experience. She's been obsessed and absorbed by it."
- The Wall Street Journal "A remarkably poignant, in-depth . . . look at the making of art under often hair-raising circumstances. [Jamison] doesn't skimp on the damage Lowell caused, both to himself and others, when he was at his worst, which makes the insistent re-emergence of his best self an act worth marveling at, as courageous and full of stamina in its way as that of any war hero."
PublisherKnopf Doubleday Publishing Group
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