In what significant ways has American psychological fiction and media influenced society’s perception of mental health?
Malleable
INTRODUCTION
The societal perception of mental health is a dynamic construct that progresses alongside our evolving world. Several factors play an influential role such as the development of psychological research and technology as well as the general advancements in global communication. Language, in particular, plays a significant role in altering, both negatively and positively, the societal perception of mental health.
Though it is subject to contrasting interpretations, it is my aim, within this piece, to examine and offer my interpretation as to what significant ways has American psychological fiction and media influenced society’s perception of mental health. Through the exploration of several literary and media examples, I will focus primarily on the development of empathy and understanding, as well as the receptive notions of mental health. Although the concentration of this piece is American psychological fiction, it is crucial to understand that psychopathology is ingrained within the fabric of literature, extending beyond the boundaries of genre and fiction.
FOSTERING EMPATHY
Expanding upon the work of Kidd and Castano (2013), Pino and Mazza (2016) hoped to solidify the suggested relationship between reading literary fiction and an individual’s increased “mentalizing ability.” (Pino and Mazza 14) Mentalizing involves understanding what others are thinking or feeling. It does not concern resonating with other people’s feelings, known as “emotional sharing,” (Pino and Mazza 14) however, it remains a vital dimension in the process of empathy. Their study utilized a large variety of empathy measures as well as a pre and post-test design, allowing them to “evaluate the effects of reading literary fiction, compared to nonfiction and science fiction, on empathetic abilities.” (Pino and Mazza 14) The data collected reinforces Kidd and Castano’s findings that there is a statistically significant enhancement in mentalizing and empathetic abilities, following reading literary fiction.
Literary fiction cannot be defined by exclusive boundaries as it exists on a spectrum opposite genre fiction. Though requiring literary merit, it is not a matter of status. Literary fiction may be broadly construed as asking readers to explore complex, authentic characters, detailing the significant moments of life. This form compels its audience to develop a greater appreciation and understanding of the world around them. For the purpose of developing empathy, it important to note that “Literary fiction ‘uniquely engages the psychological processes needed to gain access to a character’s subjective experiences.’” (Deakin and Eastman 23)
Literary fiction allows readers to “transfer understanding to their own situation.” (Deakin and Eastman 24) Readers may not share identical experiences with a character, though it is necessary to ask questions such as, “How would I feel if I were this character? What can I learn about this person that can be applied to other situations? How is this perspective different from my own?” (Deakin and Eastman 24) Working towards answering these questions is essential in developing empathy for characters unlike ourselves. When this process is applied to genres such as psychological fiction, readers are introduced to the specific experience of mental illness, sharpening readers’ empathic attitude towards mental health. By creating an atmosphere of empathy and understanding, psychological fiction ultimately shifts the societal perception of mental illness away from negative biases and stigmatization towards a progressive, humane direction.
American author, George Saunders, has become the master of this empathic design. His short story, “Elliot Spencer,” presents an unusual protagonist— an old alcoholic man deemed useless by society, wiped clean of his memory, “reprogrammed” to serve a political purpose. Elliot is taught to interpret his existence as a “clean slate;” erased of difference; erased of life beyond his sole purpose. Saunders plays with the standard conventions of syntax, writing from Elliot’s exact comprehension level as he relearns the English language, deepening the connection between reader and character. Though he lacks these syntactic skills, Saunders has created a character that still manages to express genuine, human thoughts and emotions.
As Elliot contemplates the decision to wipe his mind once more, he thinks over the scattered, faintly recovered memories of his past;
“No one left to remember Ma bringing my blue robe wrapping me up.”
Until this moment, Elliot’s behavior is transparent; unscathed by the recollection of pain;
“My sweet little man she says Imagine the lovely things you will someday achieve in this magnificent world How proud you will make me, your mother”
“O Ma O sorry Ma did not achieve any lovely in this magnificent” (Saunders)
Elliot Spencer, a man that has lost the ability to recall the decisions throughout his life, is overcome by the bitter affliction of regret and guilt. These inherent flaws and defects of human nature cannot be stripped from the human condition and replaced by the automation of “normalcy” as we see in Elliot Spencer. “Flaws and character defects— propel fiction and literature.” (Clifford) They propel the essence of individuality.
Much like Elliot Spencer, individuals suffering from mental illness may be marginalized; deemed insignificant for straying from society’s definition of “normal.” Saunders’ writing acknowledges the maltreatment of this “difference,” through the flare of fiction, and works against this perception to create compassion and connection beyond shared experience. Elliot Spencer learns;
“If I could go back…
Say: Ma, the me you see now is not only the me I may ever be There is a me under this me who wishes to do lovely in this magnificent And some day
Watch, Ma…
Will do Will try.” (Saunders)
Like Elliot, we are each bound to our inherent differences. These differences, like mental illness, cannot be “erased” or fixed. Psychological fiction, such as the work of George Saunders, serves to promote this individuality, as we are all just one “who wishes to do lovely in this magnificent.”
DEFINING MENTAL HEALTH IN LITERATURE
19th and 20th-century psychological fiction pieces such as “The Yellow Wallpaper,” invite readers to understand “insanity” as a political term. “The Yellow Wallpaper” by Charlotte Perkins describes the life of a woman suffering the emotional and physical consequences of an oppressive marriage and the maltreatment of her mental health. As she gradually plummets into the depths of a mental breakdown, we can view her obsession with the design on her walls as a “direct reflection of her status as a woman who must remain calm and satisfied in a stultifying marriage.” (Shafer 46) Within the first pages of the short story, while explaining her husband’s response to her recent depression, the protagonist frequently questions, “But what is one to do?” (Perkins 648), demonstrating the overwhelming powerlessness she feels in her life. Through this belittling, overbearing nature of her husband and the world around her, she becomes one with the woman trapped behind “the yellow wallpaper.” It is not until she “got out at last,” (Perkins 656) from behind the pattern on the walls that she escapes the suffocating prison of her marriage.
“The Yellow Wallpaper,” written in 1892, does not outrightly claim any radical views opposing the oppressive dynamics of marriage and mental health at the time, though it can be used as evidence of such. Psychological fiction is merely the trials of life painted with the colors of fiction, allowing us to track the perception of mental health throughout history. Although it is a gradual process, the recognition of mental health has drastically improved in the last half a century. Consider post-traumatic stress disorder (PTSD). The specific diagnosis of PTSD was not added to the diagnostic manual of mental disorders (DSM) until the 1980s. Similar diagnoses were previously referred to as “shell shock,” “soldier’s heart,” or “war neurosis,” as they were found most prevalent in veterans. (“PTSD and Shell Shock”)
J.D. Salinger’s short story, “A Perfect Day for Bananafish” published in 1948, examines the consequences of this lack of awareness surrounding PTSD, regardless of the insufficient diagnosis at the time. The protagonist, Seymour Glass, is a veteran suffering from severe post-traumatic stress disorder. The story follows from the perspective of those surrounding him such as his wife, Muriel. Within the first pages, Salinger describes a phone conversation between Muriel, “a girl who for a ringing phone dropped exactly nothing,” (Salinger) and her mother. We can see throughout her conversation that this “care-free” attitude translates into a dismissive, “it will pass” mindset regarding her husband, Seymour, and his mental health. The mother and daughter converse sporadically, jumping from topic to topic, exemplifying Muriel’s avoidance, or indifference to the seriousness of Seymour’s condition. The story then transitions to Seymour’s day at the beach with a young child named Sybil. Sybil, mostly due to her age, is blind to Seymour’s suffering, though she plays a large role in familiarizing readers with his condition. As they enjoy childish games in the ocean, Seymour tells Sybil the seemingly silly story of the “bananafish;”
“They swim into a hole where there’s a lot of bananas— Once they get in, they behave like pigs— After they eat so many bananas, they can’t get out of the banana hole— They get banana fever” and “die.” (Salinger)
The “bananafish” in this story may be perceived as a symbol for soldiers such as Seymour, suffering the psychological damages of their “banana fever,” post-traumatic stress disorder. They enter the battlefield and become “pigs” suffering the effects of mass bloodshed and butchered “bananas.” Though Seymour is no longer a soldier and has broken free from his physical attachment to the war, his trauma traps him within the “banana hole” and he “can’t get out.”
Much like the unfortunate fate of the bananafish, “A Perfect Day for Bananafish” ends abruptly with “a bullet through his right temple,” (Salinger) forcing readers to grasp the true extent of Seymour’s illness. By neglecting to acknowledge his suffering, Muriel as well as Sybil and society must confront his preventable loss.
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“Insanity” as an instrument for oppression or neglect is not fiction. It is laid within the foundation of society to deem those who are different as “mad,” and those who are mad, as worthy of disregard. Literature such as “The Yellow Wallpaper” or “A Perfect Day for Bananafish” invites the audience to understand the scope of this disregard and what consequences that leaves for the “mad”, forcing readers to confront, and hopefully to alter their perception of mental illness.
MISREPRESENTATIONS OF PSYCHOPATHOLOGY IN THE MEDIA
Psychological fiction such as “The Yellow Wallpaper” or “Elliot Spencer,” provides readers access “inside the mind of the protagonist” (Smith). However, psychological media such as film or television must convey the inner workings of mental illness visually through actions or verbally through overlaid monologues. Unfortunately, likely for the sole purpose of entertainment, these representations sometimes “fall short,” (Smith).
Shortly following its release in January of 2017, M. Night Shyamalan’s film, “Split”, gained controversy surrounding its portrayal of dissociative identity disorder (DID). DID typically arises in individuals as a coping mechanism to severe trauma, allowing them to create separate personality states to dissociate from uncomfortable or painful memories or experiences. In the movie, “James McAvoy plays the villain, a man with 24 personalities who abducts and torments three girls in a windowless bunker,” (Nedleman). In contrast to the film, research has shown that individuals suffering from DID are rarely violent and are “far more likely to hurt themselves than to hurt others.” (Nedleman) Regardless of this controversy, the film was largely successful, grossing over $278.5 million worldwide [“Split (2016 American Film)”]
By misrepresenting this small community (an estimated 1% of the population), the creators not only cultivated a stigmatization and misunderstanding of DID but also harmed the individuals they were attempting to represent. Films and media innately exaggerate a character’s traits for the sake of entertainment, however, when creators fail to match that exaggeration with accuracy and awareness, it becomes criminal. Movies such as this may deter individuals from seeking out treatment or teach patients to fear their condition. One DID patient wrote to her psychiatrist after hearing about the film, asking her, “Do I ever scare you?” (Nedleman) By villainizing these mental health conditions, you are “doing a disservice to the people you’re portraying,” (Nedleman).
Other forms of media may alter the perception of mental illness even if they accurately portray the symptomology of a disorder. One example of this is the recently released Netflix miniseries, “The Queen’s Gambit.” Throughout the series, we follow the main character, Beth Harmon, as she grows to become a global chess champion. During her life, beginning from the time she spent in an orphanage as a child, Beth frequently abuses the use of tranquilizers. While this representation is accurate in portraying substance use disorder’s addictive behaviors, “her brilliance at the game is presented as intrinsically connected to her use of substances, spreading a dangerous and flawed representation of the link between drugs and genius.” (Dancyger)
Within the final episode of the series, Beth realizes that she was brilliant regardless of her dependence and wins her final match entirely sober. However, this realization occurs almost instantaneously. “There’s a missed opportunity to show Beth reclaim her own genius, doing the hard and rewarding work of disentangling it from her addiction.” (Dancyger) The show spends its majority fostering the false link between “genius and madness,” possibly altering or encouraging viewers’ perception of this myth.
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The societal perception of mental health is malleable and can be significantly influenced by the media, films, and literature. When society is provided with these blatant misrepresentations of mental illness such as those in “Split” or “The Queen’s Gambit” their perception of mental health may revert backward towards fear or misunderstanding. By recognizing these misrepresentations and educating themselves on the truth behind myth and villainization, members of society become better equipped for empathizing with and working alongside those struggling with mental illness.
DISCUSSION
Language, whether expressed through the form of fiction, film, or free verse is our most valuable resource. It allows us to leave our impression upon this malleable world. Although, while “we may naively believe that we control language, it largely controls us,” (Shafer 42). Thus, it is vital to construct language upon which the reader leaves having developed a stronger understanding of themselves and their society.
Humanity signifies variation as each member of society is bound to their inherent differences. Mental illness is no less than a “difference” between one human and another, however, society’s attempts to portray these “differences” as weakness encourages stigmatization and misconceptions surrounding mental health. Yet, language remains our most valuable resource. Language, through literature and media, enables our innate ability to learn and to empathize. American authors George Saunders, Charlotte Perkins, J.D. Salinger, and many more have created work that match this exact purpose.
These pieces of psychological fiction serve as “windows and mirrors” to the human experience (Style). We peer through and develop a greater understanding of those around us, yet we may also see our own reflection staring back at us, forcing us to evaluate our circumstances and our beliefs. American psychological fiction, when approached accurately, can transform the preconceived notions of mental illness, going beyond the page to foster an atmosphere of empathy for those who are different from ourselves.
REFERENCES
- Dancyger, Lilly. “‘The Queen’s Gambit’ and the Dangerous Myth of Drug-Induced Genius.” Harper’s BAZAAR. Harper’s BAZAAR, 19 Nov. 2020. Web. 15 Dec. 2020.
- Deakin, Kathleen, and Gloria Eastman. “Where’s My Happy Ending? Fostering Empathy through Conversations about Anxiety and Depression in Young Adult Literature.” Language Arts Journal of Michigan 35.1 (2019). Print.
- Ellett, Heather Harper, Joe Clifford, and Patricia Smith. “Writers Talk Mental Health.” Interview by Lindsey King. Accessibility in the Literary Arts. Deep Vellum Publishing, 16 Nov. 2020. Web. 15 Dec. 2020.
- “PTSD and Shell Shock.” History.com. A&E Television Networks, 02 Oct. 2017. Web. 15 Dec. 2020.
- Nedelman, Michael. “What Shyamalan’s ‘Split’ Gets Wrong.” CNN. Cable News Network, 23 Jan. 2017. Web. 10 Dec. 2020.
- Perkins Gilman, Charlotte. “The Yellow Wallpaper.” New England Magazine Jan. 1892. Print.
- Pino, Maria Chiara, and Monica Mazza. “The Use of “Literary Fiction” to Promote Mentalizing Ability.” Plos One 11.8 (2016). Print.
- Salinger, J.D. “A Perfect Day for Bananafish.” New Yorker 31 Jan. 1948: 21-25. Print.
- Saunders, George. “”Elliott Spencer”.” The New Yorker. Condé Nast, 12 Aug. 2019. Web.
- Shafer, Gregory. “Madness and Difference: Politicizing Insanity in Classical Literary Works.” Language Arts Journal of Michigan 30.1 (2014). Print.
- “Split (2016 American Film).” Wikipedia. Wikimedia Foundation, 12 Dec. 2020. Web. 15 Dec. 2020.
- Style, Emily. “Curriculum as Window and Mirror.” National SEED Project. Wellesley College. Web. 15 Dec. 2020.
