Suicidal Thoughts is a compilation of some of the most moving and insightful writing accomplished on the topic of suicide. It presents the thoughts and experiences of fifteen writers who have contemplated suicide-some on a professional level, others on a personal level, and a few, both personally and professionally. Through this collection, the reader is able to bear witness to the struggle between life and death and to the devastating aftermath of suicide. Suicidal Thoughts provides readers with a better understanding (...) of the reasons why some individuals give serious consideration to killing themselves. (shrink)

In this essay I discuss a passage from William Styron’s memoir of his long struggle with chronic severe depression, from the standpoint of a Spinozian understanding of agency and self-worth. In this passage Styron relates how in hearing a piece of music he was abruptly struck by a recollection of “all the joys [his] house had known” and how this brought a realization that it would be wrong for him to kill himself: wrong because it would be an (...) abandonment of those who had shared in those joys and a “desecration” of himself. He tells how this realization led him to admit himself to hospital for treatment and thereby to a slow and difficult recovery. This, I propose, illustrates the Spinozian idea that the value of an individual life is properly understood in terms of that individual’s participation in the actualization of a shared value and that individual agency is empowered by the knowledge of such value. (shrink)

This essay examines the relationship between wording authorship, depression and addiction. Styron's own experience was of tumbling into acute depression, following the withdrawal of his habitual low-level alcohol habit. The paper examines the way in which such depressions may be described as emptinesses of being congruent with a philosophical (Sartrean) perspective: it compares them with the wild excesses and hyperactivities associated with alcoholism in Leaving Las Vegas and The Great Gatsby. The paper makes several theoretical association between alcoholic behavior (...) and the act of writing itself. (shrink)

Analyzes the ways in which four contemporary novelists depict the rebel and the world that rejects him. Bibliogs.

The Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition, emphasizes diagnosis and statistically significant commonalities in mental disorders. As stated in the Introduction, “[i]t must be admitted that no definition adequately specifies precise boundaries for the concept of ‘mental disorder’ ” (DSM-IV, 1994, xxi). Further, “[t]he clinician using DSM-IV should ... consider that individuals sharing a diagnosis are likely to be heterogeneous, even in regard to the defining features of the diagnosis, and that boundary cases will be difficult to (...) diagnose in any but a probabilistic fashion” (DSM-IV, 1994, xxii). This article proposes that it may be helpful for clinicians to study narratives of illness which emphasize this heterogeneity over statistically significant symptoms.This paper examines the recorded experiences of unusually articulate sufferers of the disorder classified as Major Depression. Although sharing a diagnosis, Hemingway, Fitzgerald, and Styron demonstrated different understandings of their illness and its symptoms and experienced different resolutions, which may have had something to do with the differing meanings they made of it.I have proposed a word, autopathography, to describe a type of literature in which the author's illness is the primary lens through which the narrative is filtered. This word is an augmentation of an existing word, pathography, which The Oxford English Dictionary, Second Edition, defines as “a) [t]he, or a, description of a disease,” and “b) [t]he, or a, study of the life and character of an individual or community as influenced by a disease.” The second definition is the one that I find relevant and which I feel may be helpful to clinicians in broadening their understanding of the patient's experience. (shrink)

In 1982, cinemas around the world screened Sophie's Choice, a film starring Meryl Streep and Kevin Kline, adapted from the book by William Styron. The film opens with Stingo, a young journalist from the South, who arrives in New York in 1947 and rents a room in Brooklyn. Stingo is drawn into a relationship with Sophie and Nathan, the couple who live upstairs. Sophie is a Polish concentration camp survivor; Nathan is the man who saved her when she arrived (...) in America. Nathan is charismatic, schizophrenic, and violent.In one of the film's flashbacks, a German soldier imposes a terrible choice on Sophie, a young mother who arrives at Auschwitz with other prisoners from Krakow. Sophie is ordered to choose which of her two children will be sent to the ovens, and which will live. (shrink)

But never let it be doubted that depression, in its extreme form, is madness. (Styron, 1990, p. 62)There is nothing wrong with our biology or our intelligence; sometimes we are just stuck. (Cvetkov...

I explore the claim that “fictive imagining” – imagining what it is like to be a character – can be morally dangerous. In particular, I consider the controversy over William Styron’s imagining the revolutionary protagonist in his Confessions of Nat Turner. I employ Ted Cohen’s model of fictive imagining to argue, following a generally Kantian line of thought, that fictive imagining can be dangerous if one has the wrong motives. After considering several possible motives, I argue that only internally (...) directed motives can satisfy the moral concern. Finally, I suggest that when one has the right motives, fictive imagining is morally praiseworthy since it improves one’s ability to imagine the lives of others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.1 (2006) 174-189 [Access article in PDF] Sophie's Choice: Letting Chance Decide Suzanne Dovi University of Arizona When, if ever, should individuals facing a genuine moral dilemma adopt a random decision procedure to determine the outcome of that dilemma? Or to put the question more metaphorically, is it ever morally preferable to determine the outcome of a moral dilemma by flipping a coin? In this paper, (...) I will argue that sometimes it is. To make this argument, I consider a particularly agonizing moral dilemma—the one found in William Styron's Sophie's Choice. Drawing on this famous example of a moral dilemma, I identify three salient features of a moral dilemma that make it morally permissible, and even morally preferable, for an agent to adopt a random decision procedure to determine its outcome. By 'morally preferable,' I do not mean to imply that an agent is morally required to adopt a random decision procedure to determine the outcome of a moral dilemma. As will be seen, I disagree with the view that humans must always pursue the most morally preferable course of action. Nevertheless, I contend that agents should adopt a random decision procedure when faced with a moral dilemma that possesses three salient features. These three features are: (1) when there is clearly no "better" outcome from the range of choices available to the agent; (2) when particular kinds of moral burdens (guilt burdens) can be alleviated by that agent adopting a random decision procedure; and (3) when the alternatives were given to, and not made by, the agent. The first two salient features are necessary for it to be morally permissible [End Page 174] to decide a moral dilemma using a random decision procedure. The third feature is not necessary since a person could, due to her morally permissible decisions, face a moral dilemma whose outcome could be legitimately determined by a random decision procedure. However, I maintain that all three features are jointly sufficient for determining when it is morally preferable to adopt a random decision procedure to decide the outcome of a moral dilemma. I Hard choices are decisions that require us to choose among conflicting goals, purposes, values, or goods that are very important to us. Such choices pervade our lives. According to David Schmidtz, to face such a hard choice can be "the price of the richness and complexity of a life well-lived. To have both ideals and loved ones is to run the risk of having to make decisions under unresolved conflicts of value."1 Although hard choices are often ordinary, some hard choices can also be genuine moral dilemmas.2For my purposes, hard choices become genuine moral dilemmas when an agent cannot avoid violating his or her deeply held moral beliefs. Moreover, genuine moral dilemmas are dilemmas that have no "right" answer. So, for example, genuine moral dilemmas occur when an agent faces a decision between outcomes that are, as far as the agent can reasonably determine, equally bad or incommensurable. Indeed, some genuine moral dilemmas can involve choices between such horrible outcomes that it does not make sense to use moral language to justify their decisions—that is, to provide reasons for thinking that one outcome is preferable to another. In these cases, genuine moral dilemmas do not offer any possibility for moral redemption: the agent cannot morally justify choosing one outcome over another. Thus, genuine moral dilemmas can impose serious (and potentially devastating) moral costs on the decision-maker.William Styron's Sophie's Choice presents an example of such a genuine moral dilemma. Sophie Zawistowska has been asked to choose which of her two children, Eva or Jan, will be sent to the gas chamber in Auschwitz. An SS doctor, Fritz Jemand von Niemand, will grant a dispensation to only one of Sophie's children. If she does not choose which one should live, Dr. von Niemand will send both to their death. Sophie chooses her daughter Eva to go to the gas chamber. Her son, Jan, is sent to the Children's Camp and she... (shrink)

This symposium represents the first major foray of the Journal of Bioethical Inquiry into what may well become one of its significant strands of scholarship. The JBI has always encouraged critical and marginal areas of bioethics scholarship and particularly those which make use of contemporary continental philosophy and cultural theory in addition to traditional analytic methods. For that reason this symposium is an expression of a “natural fit” or a “match made in heaven” (or at least the Platonic version of (...) that idea). The authors span times and sites in history and culture, from ancient Greece to present day Brisbane. They draw on a variety of literary genres and figures, ranging from Greek tragedy to an epic Chinese novel; from Jane Austen to William Styron, a major American novelist and essayist; from the modern English science fiction of Kazuo Ishiguro, a Japanese expatriate in London, to the 20th-century English poetry of Philip Larkin. The symposium also engages with some recur. (shrink)

This study of contemporary art and culture brings together Boyers's sharply focused essays on writers, filmmakers, painters, and critics, first published in the _TLS_, _The American Scholar_, _Granta_, _The_ _American Poetry Review, and Salmagundi. The essays respond to the diversity of "events" that make up our cultural life, and take as their central theme what Boyers calls "object loss" in the art and writing of some prominent contemporaries. The term designates a radical incapacity to think clearly about the objects—actual or (...) imagined—that give a work point or focus. He argues that this incapacity has produced various kinds of irrelevance and dishonesty, not so much in the art of our day as in the various critical theories and response patterns which are dominant among us._ Dwelling on such figures as Jean-Luc Godard, Mario Vargas Llosa, Marcel Duchamp, John Ashbery, and William Styron, Boyers frequently casts his reflections as responses to theories that have gained—especially among contemporary literary intellectuals—an indisputable currency. His essays constitute a negative aesthetic, a "definition by recoil" of postmodernist art and the ideology that promotes or defends it. (shrink)

Categorical names such as “The English Novel,” “The Modern American Novel,” and “American Literature” often turn up in catalogs as titles of college courses, and we know from them pretty much what to expect. They also have standing in critical discourse, along with allied terms unlikely to serve as course titles: “good writing,” “great literature,” “serious fiction,” “literature” itself. The awareness has grown in recent years that such concepts pose problems, even though we use them with easy enough comprehension when (...) we talk or write to others who share our cultural matrix.Lately, critics like Raymond Williams have been reminding us that the categories change over time and that at any given moment categories embody complex social relations and a continuing historical process. That process deeply invests all terms with value: since not everyone’s values are the same, the negotiating of such concepts is, among other things, a struggle for dominance—whether between adults and the young, professors and their students, one class and another, or men and women. We don’t usually notice the power or the conflict, except when some previously weak or silent group seeks a share of the power: for example, when, in the 1960s, American blacks and their supporters insisted that black literature be included in school and college curricula, or when they openly challenged the candidacy of William Styron’s Confessions of Nat Turner for inclusion in some eventual canon.1 But the gradual firming up of concepts like, say, postwar American fiction is always a contest for cultural hegemony, even if in our society if is often muted—carried on behind the scenes or in the seemingly neutral marketplace. 1. See John Henrik Clarke, ed., William Styron’s Nat Turner: Ten Black Writers Respond . Richard Ohmann is professor of English at Wesleyan University. He is the author of English in America and is presently working on studies in mass culture. (shrink)

Flannery O'Connor: Reading Kierkegaard in the Light of Thomas Aquinas -- Walker Percy: Literary Extrapolations from Kierkegaard -- George Steiner: Playing Kierkegaard's Theological-Philosophic-Psychological Sports -- William Styron: Styron and the Assault of Kierkegaardian Dread -- Index of Persons -- Index of Subjects.

A autora estuda o testemunho de William Styron em seu livro Perto das trevas. A crise vivida pelo escritor é interpretada como um fenômeno regressivo, com angústia de aniquilamento que o conduziu à beira do suicídio. Sua recuperação é atribuída ao holding que uma internação hospitalar lhe ofereceu.

This volume of the Chicago series is an anthology of what might be called religious literary criticism, where 'religious' speaks of a concern for particular motifs not of any didactic intent on the part of the critics, all of whom, as in the other volumes of the series, are either alumni or faculty of Chicago Divinity School. The contributors on the whole seem to be sound secular scholars with an interest in and passion for literature as a window on life's (...) hard questions. Scott's introduction and his lead article on Saul Bellow are erudite, vast, esoteric, and exhausting. The rewards of careful, hard-work reading are high; but the price will turn many back. All the entries except one focus on recent American prose: Malamud, Heller, Pynchon, Salinger, Flannery O'Conor, J. F. Powers, Styron, and Mailer.--S. O. H. (shrink)

This volume of the Chicago series is an anthology of what might be called religious literary criticism, where 'religious' speaks of a concern for particular motifs not of any didactic intent on the part of the critics, all of whom, as in the other volumes of the series, are either alumni or faculty of Chicago Divinity School. The contributors on the whole seem to be sound secular scholars with an interest in and passion for literature as a window on life's (...) hard questions. Scott's introduction and his lead article on Saul Bellow are erudite, vast, esoteric, and exhausting. The rewards of careful, hard-work reading are high; but the price will turn many back. All the entries except one focus on recent American prose: Malamud, Heller, Pynchon, Salinger, Flannery O'Conor, J. F. Powers, Styron, and Mailer.--S. O. H. (shrink)