Ester Greenwood and DPDR
According to the National Institutes of Health, DPDR (Depersonalization Derealization Disorder) is a disorder referring to an “estranged state of mind” with a “profound feeling of detachment to one’s sense of self and the surrounding environment,” (https://pmc.ncbi.nlm.nih.gov/articles/PMC10132272/).
However, Ester displays both derealization and depersonalization in different instances, showing her symptoms amount to more than just dissociation. While depersonalization is a detachment from one's self, often described as being outside of your body and observing your life, derealization focuses on the environment and others being seen as unreal, dreamlike, or distorted.
DEREALIZATION
In chapter 9, Ester describes Hilda in many notable terms, for instance, comparing her movements to a mannequin's in page 99. Ester even writes Hilda as doubting her existence herself. “She stared at her reflection in the glossed shop windows as if to make sure, moment by moment, that she continued to exist." When Ester mentions the Rosenbergs, who were electrocuted later that night, and Hilda agrees it's awful, Ester almost sees her in a human light, describing “...at last I felt I had touched a human string in the cat’s cradle of her heart.” When Hilda replies that “it's awful such people should be alive,” Ester replies negatively, once again describing Hilda with distorted language. Her mouth is described as a dark cave, and her voice resembling that of a dybbuk (a malicious and possessing spirit from Jewish mythology) speaking from its hiding place as she states she's glad they were going to die (page 99-100).
While this excerpt could be seen as out of place or unnecessary, it shows us how when Ester is met with someone who doesn't hold empathy for the Rosenbergs, or at least approves the use of execution by electrocution, her image of them is warped into something inhuman. This shows Ester’s distortion of people who seem to have a moral disagreement with her, and thus, her derealization.
DEPERSONALIZATION
Ester displays depersonalization by her constant use of the Bell Jar as a metaphor. A Bell Jar is a bell shaped glass cover used to enclose or isolate samples, sometimes for observation or examination. In page 186, she describes the Bell jar around her as suffocating, that she couldn't stir. This is an allegory to how confining DPDR can be, isolating the person with a perspective that doubts reality. Even in the last chapter, she says “How did I know that someday–at college, in Europe, somewhere, anywhere–the bell jar, with its stifling distortions, wouldn't descend again?” (page 241). We can infer that these feelings are most likely chronic, something that was not fixed by her psychiatric stay. I also think it's noteworthy that she specifically describes its “stifling distortions” as people with DPDR often see themselves and the world around them as distorted from reality and nonsensical.
Likewise, perceiving Ester Greenwood as a person with DPDR makes her visit to Joan's funeral that more impactful. As Ester is facing the reality of her friends suicide and mortality, she says “I took a deep breath and listened to the old brag of my heart. I am, I am, I am.” Ester acknowledges her own humanity, and affirming “I am” solidifies her desire to improve, to rid herself of her distorted self image and see herself as simply being (page 243).
Previously, Ester had said the same, “I am I am I am.” as she's swimming with Cal. She wanted to swim until she was too tired to swim back, her heartbeat described as “boomed like a dull motor” in her ears (page 158). I interpret this as her trying to identify her humanity by dealing with her mortality, having to hear her heart beating while she tried to exhaust herself into drowning. She wants to prove to herself, and maybe those around her, that she is a human being, capable of dying. Interestingly, when drowning, people often describe a pain of feeling like your head is exploding from you holding in your breath, the brain not allowing you to breathe in water until you are unconscious. That pain can be a reminder of your humanity because even if you are attempting suicide, your basic functions will kick in and resist for the ultimate goal of survival, even if you mind does not want it. Ester’s use of “I am” without the commas can also be a symbol of her frantic state. However, at Joan’s funeral, the use of commas infers she's more calm, perhaps comforted by her heart beat as a reminder of her humanity, rather than overwhelmed by a frantic urge to prove it.
Hi Ashton!
ReplyDeleteThe Belljar definitely has direct themes of mental health in the book, but I never thought of it through the lens of DP/DR. I think it's refreshing to hear a perspective on what mental illnesses Esther might *actually* have, as opposed to the 1950's electroshock therapy and vague terms in the book. Great blog!
Hi Ashton,
ReplyDeleteWhen I saw you were talking about Esther's depersonalization symptoms I literally stood up and started giving little jumps for joy. I originally thought she might have been having depersonalization symptoms earlier when Esther failed repeatedly to recognize herself in the mirror after her excursion with Doreen, althought I didn't keep super close track of what else was going on.
I also particularly like your analysis of the repeated "I am, I am, I am" phrase that shows up midway and at the end of the book. The idea that by the end of the book she has recovered enough to not need to prove to herself that she is alive, that she is real, is very hard-hitting for me. I thought it was interesting that she describes her heartbeat as a "brag" the second time, although I guess it could be her personifying the heart in a way that contrasts her continuing life with Joan's death. I'm not sure whether this would extend to Esther herself feeling somewhat superior to Joan for being alive (which wouldn't be totally out of character for her) or if she's just kind of noting/reminding herself/being reminded that she is still alive.
This is a fascinating and illuminating discussion: I always say that it is risky business to try to "diagnose" a fictional character (or an author!) based on literary evidence, and yet, when the literal topic of the novel is the protagonist's mental illness, and we're being asked to view critically failed attempts to treat her, it seems like a best-case scenario for this kind of diagnosis. And as Adrian points out, we are also dealing with a much more limited and primitive time in psychiatry, circa 1953, although Dr. Nolan is there to anticipate new future developments.
ReplyDeleteYou have much more education in the field of psychology than I have, and I really don't try to get specific as to what Esther's "breakdown" might entail. Your description (and examples!) of Esther showing symptoms of depersonalization and derealization is persuasive to me: in particular, I find the term "derealization" very useful for describing Plath's subtle narrative style, with its "distortions."
This post and Michael's post on "disembodied" narrative perspective in this novel could be combined into a high-powered psychiatric/literary analysis!
I didn't know the difference between derealization and depersonalization before reading this, and I can see the connection you made with Esther. I thought your example with Hilda was interesting, because it shows how Esther starts describing her in almost inhuman terms when she disagrees with her morally, which fits with the idea of derealization. I also like how you connected the bell jar metaphor to depersonalization and the feeling of being separated from reality. The comparsion of the "I am I am" moments was something I didn't notice, I agree one felt more frantic while other was calmer. Overall, your post made me think about Esther experience in a new way.
ReplyDelete