Darkness Visible Read online

  The morbid condition proceeded, I have come to believe, from my beginning years—from my father, who battled the gorgon for much of his lifetime, and had been hospitalized in my boyhood after a despondent spiraling downward that in retrospect I saw greatly resembled mine. The genetic roots of depression seem now to be beyond controversy. But I’m persuaded that an even more significant factor was the death of my mother when I was thirteen; this disorder and early sorrow—the death or disappearance of a parent, especially a mother, before or during puberty—appears repeatedly in the literature on depression as a trauma sometimes likely to create nearly irreparable emotional havoc. The danger is especially apparent if the young person is affected by what has been termed “incomplete mourning”—has, in effect, been unable to achieve the catharsis of grief, and so carries within himself through later years an insufferable burden of which rage and guilt, and not only dammed-up sorrow, are a part, and become the potential seeds of self-destruction.

  In an illuminating new book on suicide, Self-Destruction in the Promised Land, Howard I. Kushner, who is not a psychiatrist but a social historian, argues persuasively in favor of this theory of incomplete mourning and uses Abraham Lincoln as an example. While Lincoln’s hectic moods of melancholy are legend, it is much less well known that in his youth he was often in a suicidal turmoil and came close more than once to making an attempt on his own life. The behavior seems directly linked to the death of Lincoln’s mother, Nancy Hanks, when he was nine, and to unexpressed grief exacerbated by his sister’s death ten years later. Drawing insights from the chronicle of Lincoln’s painful success in avoiding suicide, Kushner makes a convincing case not only for the idea of early loss precipitating self-destructive conduct, but also, auspiciously, for that same behavior becoming a strategy through which the person involved comes to grips with his guilt and rage, and triumphs over self-willed death. Such reconciliation may be entwined with the quest for immortality—in Lincoln’s case, no less than that of a writer of fiction, to vanquish death through work honored by posterity.

  So if this theory of incomplete mourning has validity, and I think it does, and if it is also true that in the nethermost depths of one’s suicidal behavior one is still subconsciously dealing with immense loss while trying to surmount all the effects of its devastation, then my own avoidance of death may have been belated homage to my mother. I do know that in those last hours before I rescued myself, when I listened to the passage from the Alto Rhapsody—which I’d heard her sing—she had been very much on my mind.

  X

  NEAR THE END OF AN EARLY FILM OF INGMAR BERGMAN’S, Through a Glass Darkly, a young woman, experiencing the embrace of what appears to be profound psychotic depression, has a terrifying hallucination. Anticipating the arrival of some transcendental and saving glimpse of God, she sees instead the quivering shape of a monstrous spider that is attempting to violate her sexually. It is an instant of horror and scalding truth. Yet even in this vision of Bergman (who has suffered cruelly from depression) there is a sense that all of his accomplished artistry has somehow fallen short of a true rendition of the drowned mind’s appalling phantasmagoria. Since antiquity—in the tortured lament of Job, in the choruses of Sophocles and Aeschylus—chroniclers of the human spirit have been wrestling with a vocabulary that might give proper expression to the desolation of melancholia. Through the course of literature and art the theme of depression has run like a durable thread of woe—from Hamlet’s soliloquy to the verses of Emily Dickinson and Gerard Manley Hopkins, from John Donne to Hawthorne and Dostoevski and Poe, Camus and Conrad and Virginia Woolf. In many of Albrecht Dürer’s engravings there are harrowing depictions of his own melancholia; the manic wheeling stars of Van Gogh are the precursors of the artist’s plunge into dementia and the extinction of self. It is a suffering that often tinges the music of Beethoven, of Schumann and Mahler, and permeates the darker cantatas of Bach. The vast metaphor which most faithfully represents this fathomless ordeal, however, is that of Dante, and his all-too-familiar lines still arrest the imagination with their augury of the unknowable, the black struggle to come:

  Nel mezzo del cammin di nostra vita

  Mi ritrovai per una selva oscura,

  Ché la diritta via era smarrita.

  In the middle of the journey of our life

  I found myself in a dark wood,

  For I had lost the right path.

  One can be sure that these words have been more than once employed to conjure the ravages of melancholia, but their somber foreboding has often overshadowed the last lines of the best-known part of that poem, with their evocation of hope. To most of those who have experienced it, the horror of depression is so overwhelming as to be quite beyond expression, hence the frustrated sense of inadequacy found in the work of even the greatest artists. But in science and art the search will doubtless go on for a clear representation of its meaning, which sometimes, for those who have known it, is a simulacrum of all the evil of our world: of our everyday discord and chaos, our irrationality, warfare and crime, torture and violence, our impulse toward death and our flight from it held in the intolerable equipoise of history. If our lives had no other configuration but this, we should want, and perhaps deserve, to perish; if depression had no termination, then suicide would, indeed, be the only remedy. But one need not sound the false or inspirational note to stress the truth that depression is not the soul’s annihilation; men and women who have recovered from the disease—and they are countless—bear witness to what is probably its only saving grace: it is conquerable.

  For those who have dwelt in depression’s dark wood, and known its inexplicable agony, their return from the abyss is not unlike the ascent of the poet, trudging upward and upward out of hell’s black depths and at last emerging into what he saw as “the shining world.” There, whoever has been restored to health has almost always been restored to the capacity for serenity and joy, and this may be indemnity enough for having endured the despair beyond despair.

  E quindi uscimmo a riveder le stelle.

  And so we came forth, and once again beheld the stars.

  A Biography of William Styron

  William Styron was born on June 11, 1925, in Newport News, Virginia, to W.C. and Pauline Styron. He was one of the preeminent American authors of his generation. His works, which include the bestseller Sophie’s Choice (1979) and the Pulitzer Prize-winning The Confessions of Nat Turner (1967), garnered broad acclaim for their elegant prose and insights into human psychology. Styron’s fiction and nonfiction writings draw heavily from the events of his life, including his Southern upbringing, his mother’s death from cancer in 1939, his family history of slave ownership, and his experience as a United States marine.

  Growing up, Styron was an average student with a rebellious streak, but his unique literary talent was markedly apparent from a young age. After high school, he attended Davidson College in Charlotte, North Carolina, for a year in the reserve officer training program before transferring to Duke University, where he worked on his B.A. in literature. Styron was called up into the marines after just four terms at Duke, but World War II ended while he was in San Francisco awaiting deployment to the Pacific, just before the planned invasion of Japan. He then finished his studies and moved to New York City, taking a job in the editorial department of the publisher McGraw-Hill.

  W.C.’s recognition of his son’s potential was crucial to Styron’s development as a writer, especially as W.C., an engineer at the Newport News Shipbuilding and Drydock Company, provided financial support while his son wrote his first novel, Lie Down in Darkness (1951). Published when Styron was twenty-six years old, Lie Down in Darkness was a critical and commercial success, and the culmination of years spent perfecting his manuscript. Shortly after the book’s publication, however, Styron was recalled to military service as a reservist during the Korean War. His experience at a training camp in North Carolina later became the source material for his anti-war novella The Long March (1953), which N
orman Mailer proclaimed “as good an eighty pages as any American has written since the war, and I really think it’s much more than that.”

  Starting in 1952, after his service in the reserves, Styron lived in Europe for two years, where he was a founding member, with George Plimpton and Peter Matthiessen, of The Paris Review. He also met and married his wife, Rose, with whom he went on to have four children. Styron’s second major novel, Set This House on Fire (1960), drew upon his time in Europe. He spent years preparing and writing the subsequent novel, The Confessions of Nat Turner (1967), which became his most celebrated—and most controversial—work. Published at the height of the civil rights movement, the novel won the Pulitzer Prize and was hailed as a complex and sympathetic portrait of Turner, though it was criticized by some who objected to a white author interpreting the thoughts and actions of the black leader of a slave revolt. Styron followed with another bestseller, Sophie’s Choice (1979), the winner of the 1980 National Book Award. The novel, which was made into an Academy Award-winning film of the same name, borrowed from Styron’s experience at McGraw-Hill as well as his interest in the psychological links between the Holocaust and American slavery.

  In 1982, Styron published his first compilation of essays, This Quiet Dust. Three years later he was beset by a deep clinical depression, which he wrote about in his acclaimed memoir Darkness Visible (1990). The book traces his journey from near-suicide to recovery. His next book, A Tidewater Morning (1993), was perhaps his most autobiographical work of fiction. It recalled three stories of the fictional Paul Whitehurst, one of which depicted Whitehurst’s mother’s death when he was a young boy, an event that mirrored Pauline Styron’s death when Styron was thirteen years old. The book was Styron’s last major work of fiction. He spent the remainder of his life with Rose, writing letters and dividing his time between Roxbury, Connecticut, and Martha’s Vineyard. William Styron died of pneumonia on November 1, 2006.

  William Styron in 1926 at ten months old. He was an only child, born in a seaside hospital in Newport News, Virginia. As an adult, Styron would describe his childhood as happy, secure, and relatively uneventful.

  The Elizabeth Buxton Hospital in Newport News, Virginia, in 1927, two years after William Styron’s birth. Styron was born on the second floor, delivered by Dr. Joseph T. Buxton, whose daughter, Elizabeth, would become Styron’s stepmother in 1941.

  The house where Styron grew up, in Newport News, Virginia, and where he lived with his family from 1925 until he was fifteen. Styron’s youth in Newport News instilled in him a sense of the tangibility of history that would later form the bedrock of many of his novels.

  The photo from Styron’s sophomore-year high school yearbook, taken in 1939. He did poorly in school that year, earning mostly Cs and Ds and getting in trouble for disobedience. His father sent him to Christchurch boarding school in Virginia in 1940 to finish his last two years of high school, hoping the change would make Styron more focused and disciplined.

  As a youth, Styron worked at the Hilton Village Movie Theater in Newport News. It was in this theater that he first saw movies such as The Hunchback of Notre Dame and The Grapes of Wrath, which sparked his lifelong interest in film. Today, the building, above, is home to the Peninsula Community Theatre, which presents musicals, dramas, and children’s plays.

  It was while traveling as the manager of his high school football team that William Styron, top left in the photograph above, first saw the historical marker commemorating the 1831 Nat Turner slave rebellion that would ultimately inspire his Pulitzer Prize-winning novel, The Confessions of Nat Turner.

  Styron as a young Marine circa 1944. In training at Parris Island, South Carolina, Styron proved to be a subpar marksman because of a congenital cataract in his right eye, a condition he did not report when enlisting in the military. Determined to avoid getting discharged, the right-handed Styron learned to shoot his M1 rifle left-handed so he could use his left eye as his shooting eye.

  In a January 24, 1951, letter to his father, Styron says of his recently completed first novel, “now … I can truthfully feel that I’ve not only written a novel, but a good novel, perhaps even a really fine novel … and I hope it gives some people a pleasure in inverse proportion to the pain it’s caused me in the writing.”

  The first galleys of Lie Down in Darkness, 1951, signed by the author. Styron based the novel’s matriarch, Helen Loftis, on his stepmother, Elizabeth Buxton, whom he depicted as a self-righteous, angry, intolerant woman. Other characters in the novel were collages of people Styron had known in his youth.

  In a letter to his father dated April 8, 1953, Styron says, “I think it will probably interest you further to know that I am going to get myself married to [a] girl named Rose … suffice it to say that she’s the girl from whose presence I get the greatest sense of well-being and fulfillment that I’ve ever had.”

  The announcement of Styron’s wedding to Rose Burgunder at the Campidoglio in Rome on May 4, 1953. The couple spent the early days of their marriage in Ravello, above the Amalfi Coast of southern Italy, hiking, playing tennis, swimming in the ocean, reading, writing, and hosting friends.

  The Styron and Peyton families at the Styron home in Connecticut in 1960. Styron named the character Peyton Loftis in Lie Down in Darkness after these close family friends. In front are Thomas Styron, William Styron, Susanna Styron, and Paola Styron. Rose Styron stands behind William on the left.

  Styron later in life, when he spent much time outdoors on long walks with Rose or his dogs. His health deteriorated gradually until his death in 2006.

  Copyright

  All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this ebook onscreen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of the publisher.

  copyright 1990 by William Styron

  copyright renewed 2010 by the Estate of William Styron

  All photographs courtesy of the Duke University Archives, except photograph of Styron in later years, courtesy of Susanna Styron, and photographs of Styron’s childhood house and the Hilton Village Movie Theater, both 2010 Open Road Integrated Media, LLC.

  ISBN: 978-1-936317-29-5

  Published in 2010 by Open Road Integrated Media

  180 Varick Street

  New York, NY 10014

  www.openroadmedia.com

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