43 pages • 1 hour read
Matt HaigA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Haig’s love for literature pervades the book, with multiple references to writers and their work. It also represents Haig’s healing journey as he became increasingly drawn to the power of words. Eventually, they would come to elevate him to a new state of being, internally as well as externally, or socioeconomically. They also give him a way to connect with others and help them on journeys of their own.
Early in the memoir, Haig references the French philosopher Michel Foucault as a way to communicate his fear of mental illness. Later, he uses American author Kurt Vonnegut as a point of reference when discussing theories of chemical imbalance in the brain and American author Stephen King while explaining the nature of depression as an external antagonist. These early references display the way literature has become, for Haig, a way of approaching and measuring the world.
Midway through the story, Haig discovers the efficacy of literature in addressing his mental illness. Literature becomes an addictive substance and a way of self-medicating:
I read and read and read with an intensity I’d never really known before. I mean, I’d always considered myself to be a person who liked books. But there is a difference between liking books and needing them. I needed books. They weren’t a luxury good during that time in my life. They were a Class A addictive substance (129-30).
With this revelation, he goes on to explore the complex relationship between reading and the mind, between escapism and self-discovery, an understanding he later brings into his own work as a writer. Although he writes across genres, Haig primarily writes fiction that addresses these topics and themes. His early experience voraciously reading taught him that “escapism” is not in conflict with healing and growth. Haig goes on to elaborate on the particular books that had an impact on him. Echoes of these books can be seen in his style of writing as well as his view on the world.
In the final chapters, the power of literature is echoed in small ways. A Twitter user’s “#reasonstostayalive include their “TBR pile!” (To Be Read), Another says: “I have the most supportive people around me, and the best books to read” (204). Haig’s list of day-to-day things that improve his mental state include: “Reading Emily Dickinson’s poems,” “Reading some of Graham Greene’s The Power and the Glory,” and “Writing” (213). Reading and writing become both an internal coping mechanism for difficult times and an external way of reaching others. This illustrates the dual nature of Haig’s relationship with literature and the way it can successfully fill multiple, seemingly conflicting, roles in our lives.
In Chapter 22, Haig recounts an experience sitting beneath a cherry blossom tree in Leeds, England. Within a noisy, hectic city, this small green space became a small pocket of calm and slow living. Here, Haig experienced one of the uncommon moments where he experienced depression without the intensity of anxiety. The cherry blossom tree made him cry because he envied the tree’s ability to disperse into the air.
The experience inspired its own dedicated chapter: “Cherry blossom.” Here, Haig uses the imagery of the blossoms floating off the air to consider the nature of the human brain. In addition, the image of a peaceful park within the city landscape parallels the brief moments of peace that Haig came to experience and that punctuated the larger landscape of mental illness.
There is a duality in what the image of the blossoms represents: On one level, the gentle dispersion of petals is an unachievable ideal, making Haig more aware of the constrictions and permanence of his own mind. However, the shedding of the blossoms is also, by nature, a state of change—spring into summer, flowers into fruit. In this way, the moment represents the potential for healing, evolution, and better days ahead.
Although the book is primarily concerned with mental states of being, Haig makes an effort to illustrate the relationship between mental health and the physical body. He does this to emphasize the serious, debilitating, and life-threatening nature of an illness that society still often overlooks, as well as to explore the inception of mental illness and the mysteries surrounding it. Haig says, “most of the time we do not feel the near-infinite nature of our physical selves. We simplify by thinking about ourselves in terms of our larger pieces. Arms, legs, feet, hands, torso, head. Flesh, bones” (39). He juxtaposes this image with that of the mind as an equally fragmented, oversimplified aspect of being.
In later chapters, “The brain is the body” parts 1 and 2, Haig correlates the body and mind as not only complementary, but one and the same. These chapters explore the physical manifestations of depression without portraying them as a series of causes and effects, or symptoms and side effects. Rather, they are intertwined aspects of one state. Haig argues that the mind/body connection can be used to one’s benefit, as he discovers through the act of running.
The book illustrates how the physical and mental, or the body and mind, are inextricable—moreover, attempting to extricate them is misleading and damaging. Haig warns that “to separate the [mind and the body] as crudely as we do is wrong, and simplistic. And maybe even part of the problem” (158).
By Matt Haig
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