Jonah Lehrer: A Malcolm Gladwell for the Mind

As the terrible news of Andrew Koenig’s suicide and Michael Blosil leaping to his death, both after long depressive bouts, emerged over the weekend, the New York Times Sunday Magazine had aided and abetted Jonah Lehrer’s continued slide into unhelpful Gladwellian generalizations by publishing his sloppy and insensitive article claiming that depression really isn’t that bad. Lehrer, an alleged bright young thing who found his own tipping point with How We Decide, appears to have cadged nuanced examples from such thoughtful books as Kay Redfield Jamison’s Touched with Fire and Daniel L. Schachter’s The Seven Sins of Memory, proving quite eager to cherrypick tendentious bits for a facile sudoku puzzle, or perhaps print’s answer to a “fair and balanced” FOX News segment, rather than a thoughtful consideration.

Lehrer attempts to establish a precedent with Charles Darwin’s mental health: a troubling task, given that the great evolutionist kicked the bucket around 130 years ago and, thus, didn’t exactly have the benefit of psychiatric professionals watching over his bunk, much less a DSM-IV manual. Lehrer suggests that the “fits” and “uncomfortable palpitation of the heart” that Darwin referenced in his letters represented depression. While it’s difficult to diagnose a mental condition in such a postmortem manner, John Bowlby’s helpful book, Charles Darwin: A New Life, has collected various efforts to pinpoint what Darwin was suffering from. And Bowlby’s results tell a different story. Darwin, who was very careful to consult the top medical authorities of his time, described his “uncomfortable palpitation” in a letter to J.S. Henslow on September 1837, when he was hard at work making sense of his data after the Beagle had landed back. In 1974, Sir George Pickering made an analysis of Darwin’s symptoms from these shards and attributed this state to Da Costa’s Syndrome, more commonly known as hyperventillation. Da Costa’s is most certainly unpleasant, but it is not depression. Dorland’s Medical Dictionary describes Da Costa’s as “a manifestation of an anxiety disorder, with the physical symptoms being a reaction to something perceived to be dangerous or otherwise a threat to the person, causing autonomic responses or hyperventilation.” (Emphasis added.) This diagnosis was backed up, as Bowlby notes, by Sir Hedley Atkins and Professor A.W. Woodruff.

Later in his book, Bowbly suggests that Darwin may have suffered from fairly severe depression during the months of April and September 1865 — which corroborates the “hysterical crying” that Lehrer eagerly collects and that Darwin conveyed to his doctor. But where Bowbly is careful to note that the “hysterical crying” leading to depression is a speculation based merely on a phrase and an anecdote conveyed by Darwin’s son, Leonard, Lehrer conflates both Darwin’s “hysterical crying” and Bowlby’s other non-depression examples into depression. Furthermore, Lehrer fails to note that the reason that Darwin was “not able to do anything one day out of three” (as he noted in a letter to Joseph Dalton Hooker on March 28, 1849) was because, as Darwin noted, his father had died the previous November. (Lehrer does note Darwin’s grief following the death of his ten-year-old daughter and proudly observes that the DSM manual specifies that the diagnosis of grief-related depressive disorder “is grief caused by bereavement, as long as the grief doesn’t last longer than two months.” But David H. Barlow’s Anxiety and Its Disorders cites a 1989 study*, which points out that “it is not uncommon for some individuals to grieve for a year or longer” and observes that some people may need longer than two months to escape severe incapacitating grief. A major depressive disorder may not necessarily be the result after two months of grief. In other words, the human mind is not necessarily an Easy-Bake oven.)

The basis for Lehrer’s thesis — that Darwin conquered the totality of his apparent “depression” to “succeed in science” and that his “depression” was “a clarifying force, focusing the mind on its most essential problems” — is predicated on a willful misreading of the primary sources, one that apparently eluded the indolent army of Times fact checkers, who only had to consult Bowlby’s more equitable analysis. This was irresponsible assembly from Lehrer: bad and inappropriate badinage intended to back up a sensational headline and convey Darwin as a falsely triumphant poster boy for severe depression. But depression is a deadly disorder, a condition that requires a less specious summary.

Lehrer later cites David Foster Wallace’s short story, “The Depressed Person,” as a qualifying example for how the depressive mind remains in a “recursive loop of woe.” One may find comparisons between DFW’s real depression and the details contained in the story. But the story, written in third person and loaded with clinical details, might also be read as something which depicts the regular world’s failure to comprehend inner torment. Prescriptive analysis may very well apply to patterns of behavior, but fiction is an altogether different measure.

It is doubtful that DFW ever intended his story to be some smoking gun for lazy cognitive science, as Lehrer insists that it is, when Lehrer declares that those with “ruminative tendencies” are more likely to be depressed. Daniel L. Schachter’s The Seven Sins of Memory, a book that Lehrer appears to have relied upon for the Susan Nolen-Hoeksema example, pointed out that people “who focus obsessively on their current negative moods and past negative events, are at a special risk for becoming trapped in such destructive self-perpetuating cycles.” But what of those who are ruminating after a positive mood or after positive events? The danger of using a phrase like “ruminative tendencies” is that it discounts Nolen-Hoeksema’s clear distinction between dysphoric subjects inclined to ruminate (and feel worse) and “nondysphoric subjects [who] would show no effects of either the rumination or distraction inductions on their moods.” Perhaps by warning his readership of “ruminative tendencies,” Lehrer is encouraging them not to ruminate and therefore become mildly depressed about Lehrer’s dim findings. Lehrer is right, however, about the Loma Prieta earthquake data (also found in the Schachter book). But his failure to distinguish between the dysphoric and nondysphoric perpetuates a convenient generalization rather than an article hoping to contend with conditional realities.

Near the end of his piece, Lehrer confesses that the criticisms against the analytic-rumination hypothesis are often responded to “by acknowledging that depression is a vast continuum, a catch-all term for a spectrum of symptoms.” Well, if only he had told us this at the head of the article before leading us down a rabbit hole. He later writes, “It’s too soon to judge the analytic-rumination hypothesis.” Well, it wasn’t too soon to speculate on Darwin’s letters (not all the result of depression) or David Foster Wallace’s inner psychological state, as reflected through a story.

Lehrer also brings up Joe Forgas’s experiments at a Sydney stationery store, whereby Forgas hoped to get his subjects to remember trinkets. He played different music to match the weather. Wet weather made the subjects sad, and the sadness made the subjects more attentive. But in a Financial Times article written by Stephen Pincock, Forgas was careful to note “that any benefits that he has found apply only to the passing mood or emotion of sadness, rather than the devastating illness that is severe, clinical depression.” Once again, Lehrer neglects to mention this scientific proviso, leading readers to conclude that Forgas’s results are more related to depression.

It’s also important to note that the Paul Andrews study Lehrer relies on, which drew an interesting correlation between negative mood and improved analysis, defines “depressive affect” as “an emotion characterized by negative effect and low arousal.” This is a fundamentally different metric from outright depression, which Andrews’s study is clear to specify. But Lehrer confuses the two terms and retreats back to his clumsy Darwin metaphor of “embrac[ing] the tonic of despair.”

I don’t doubt that Lehrer wished to point out how depressive affect, or modest negative feelings, need not translate into a crippling existence. But his distressing conflation of “depressive affect” and “depression,” and his insistence that even a modest negative feeling might be categorized as depression, may very well suggest to readers that hard-case depressives in serious need of care and treatment might do without these essential long-term remedies. As someone who has offered assistance to friends living with this very real condition, I find Lehrer’s willingness to lump every sad behavioral pattern into “depression” truly shocking. I’m also greatly concerned that the New York Times — the ostensible paper of record — has failed to fact-check the selected studies, thus misleading readers into believing that depression is always a “clarifying force.” Depression, as Andrews attempted to convey to Lehrer, is “a very delicate subject.” Andrew did not wish to say anything reckless for the record. It’s just too bad that Lehrer did.

* Jacobs, Hansen, Berkman, Kasi & Ostfield (1989). Depressions of bereavement. Comprehensive Psychiatry, 30(3), 218-224

The Bat Segundo Show: Justin Taylor

Justin Taylor recently appeared on The Bat Segundo Show #323. Mr. Taylor is most recently the author of Everything Here is the Best Thing Ever.

Condition of Mr. Segundo: Fearful of sanguine book titles.

Guest: Justin Taylor

Subjects Discussed: Not naming protagonists until well into the stories, dissatisfaction with formality, how characters reveal themselves, gender confusion within “Weekend Away,” Taylor’s aversion to “bright neon signs” within narrative, the dangers of being too specific, similes, concluding lines and addressing the reader, the final line of “Jewels Flashing in the Night of Time,” Donald Barthelme and Taylor’s veer from the phantasmagorical, Sleeping Fish and 5_Trope, Shelley Jackson, the Gordon Lish school of writers, Gary Lutz’s “experimental” nature, Taylor’s concern for hair, describing Florida primarily through the weather, the helpfulness of knowing a place before writing a story, boundaries and possibilities within limitations, age declarations at the beginnings of stories, the difficulties of getting all the numbers worked out within “The New Life,” the important of precise age, research that comes after writing a story, eliding the coordinates of a Planned Parenthood, 1960s counterculture, the Grateful Dead, distrust of pithy maxims and prescriptive text, and believing in aspects of a story.

EXCERPT FROM SHOW:

Correspondent: I wanted to go back to the hair. I had alluded to that earlier. It could just be me, but you do have a concern for hair. It’s often quite specific, as I suggested. You begin “Amber at the Window in Hurricane Season” by describing her pushing “a blond lock behind her ear, stray hairs glancing off a steel row of studs.” In “In My Heart I Am Already Gone,” you describe how Vicky “cuts her own bangs, a ragged diagonal like the torn hem of a nightgown.” In “Weekend Away,” the hitchhiker has “black, messy hair mostly covering his ears.” In “What Was Once All Yours,” Cass has hairy forearms. I’m curious about this hair. And also we haven’t alluded to the cat as well. Is it more of a protective element? You know, these characters are often barren against the elements, so to speak. And I’m curious about this. You are a hair man, I have to say.

Taylor: (laughs)

Correspondent: Or are you the President of the Hair Club for Men? I don’t know.

Taylor: I can’t really answer for that. I mean, every writer has certain concerns or tics that they might not even be aware of. I asked a similar question to David Berman once. I got to interview him for The Brooklyn Rail. And I was asking him this question about water. I said, “You know, American Water.” And there’s this line in Actual Air. “All water is classic water.” I had, I don’t know, two or three other examples. And I finally just asked myself, “So what’s the deal with all the water?” And he said, “You know, nobody’s ever asked me that before.” And he really didn’t have an answer. And then he told this story about mowing his lawn on a hot day. Which I think was supposed to exemplify that water is — water’s nice. And, you know, I don’t know. Hair is nice, I guess. I don’t know why. Because it’s mostly haircuts, hairstyles. I don’t know why I notice. Those are like what I’m visualizing with a character that appears or seems to be worth mentioning rather than eye color or height or anything else. I don’t know.

When I was a kid, I never liked getting haircuts. I still don’t like getting haircuts actually. I always feel like I don’t have a good haircut. Like everybody else has the style that they’re supposed to have. And mine always feels a little off. I feel like I’m impersonating.

Correspondent: Not one satisfactory haircut in your life?

Taylor: I’ve had some decent haircuts. But it was like a very early — it was when I was a really little kid. It would get long and I would be worried that I would look like a girl. And they would take me to get my hair cut. And then after it was cut, I would see myself in the mirror and I wouldn’t even recognize myself. And I would really lose it. And that doesn’t happen so much anymore. I’ve learned to recognize myself.

Correspondent: With more confidence, more confidence in hair and haircuts.

Taylor: There’s only so old you can be crying at a barbershop.

Correspondent: I’ve seen very older men cry at barbershops.

Taylor: (laughs) In any case, the answer is “I don’t know.”

The Bat Segundo Show #323: Justin Taylor (Download MP3)

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Review: Cop Out (2010)

As suggested by Peter Biskind’s Down and Dirty Pictures, Steven Soderbergh initiated his “one for us, one for them” plunge into the Hollywood ocean with 1998’s Out of Sight. Richard Linklater’s occasional dips began with 2003’s School of Rock. Both were perfectly respectable movies, but it wasn’t much of a surprise when these distinctive directors’s later compromises floundered. Now Kevin Smith, a tardy arriviste into the strange club of indie filmmakers turned hired hands, has copped a Hollywood feel with Cop Out, a buddy movie that so desperately wants to be Beverly Hills Cop or Fletch (even composer Harold Faltermeyer has been coaxed out of near-retirement to score this flick), but that squeaks like some by-the-numbers franchise sequel co-directed by Brett Ratner and Abraham Zapruder. Cop Out is a hack movie directed as if it were a home movie, a big shaggy dog that really, really wants to be loved. One feels a bit embarrassed watching Smith attempt to put together a car chase, relying on a routine vehicle spin to win some half-baked sense of excitement. And the film’s firm commitment to choppy amateurism is equally evident in the sloppy attention to detail. There’s one scene where, in a stunning display of shoddy script supervision, a slice of pizza disappears from Kevin Pollack’s right hand. In a later shootout, there’s a lazy nod to John Woo’s double-fisted gunning. The visual palette is, as expected, little more than static shots and long takes, with half-hearted efforts at a TV-friendly color scheme. A primitive amber aura for a restaurant showdown. Willis backlit by blue in a bar. These are a student filmmaker’s templates. With eight feature films under his belt, the fair pass that Smith has received for this type of shoddy camerawork must end. It doesn’t help that Smith has this tendency to film his actors with all that dead space at the top of the frame, as if these characters are awaiting some comic book caption or the audience is enduring some bumbling community theater production.

On the other hand, if the Hollywood hostlers give you a cliche-ridden horse (“These assholes are crazy, brother,” reads one of the unnecessary Spanish subtitles) saddled with dated cultural references (the first ten minutes is a tedious farrago of movie quotes and the film’s later use of “All your base are belong to us” is so 2001), why not direct it like a home movie? Unlike Brett Ratner’s films, one can safely assert that home movies emerge from good intentions. Smith is known for badgering his poor actors into highly specific and highly unnatural line delivery. But Bruce Willis, perhaps because he is too big a star to be prodded by an unambitious filmmaker, plays a very good straight man. He reacts to the anarchy around him with John McClane-like head cocks and James Cole-like introspection. Tracy Morgan, whom I’ve long suspected is more than the loudmouth immortalized on 30 Rock and Saturday Night Live, is refreshingly played against type. His character is given numerous opportunities to spout obscure facts and his monologue with a teddy bear nannycam should not work as well as it does. The material is weak, but Morgan thankfully isn’t. Worrying about his wife’s possible infidelities, Morgan momentarily turns a character who might have become a stock wiseacre into a bustling bundle of neuroses. The film is also wise enough to cast the ass-kicking Susie Essman in a small role. Unfortunately, the underrated Seann William Scott, who showed that he was far more than Steve Stifler in the little-seen 2008 film, The Promotion, is given very little to work with.

I can’t say that I hated this movie — certainly not as much as the people around me. But I also can’t say that I loved the movie either. I’m as fond of crass humor and dick jokes as the next guy. And to ensure that I absconded with any lingering pretensions, I took along the thriller novelist Jason Pinter to the screening. But he felt the same way. While there are a few funny moments, there isn’t a single gag in this movie that is as creative or as funny as Axel Foley stuffing hot dogs up a tailpipe. And while Morgan may have energy, despite my praise for what he does with the material (including a funny scene where he insensitively crunches on tortilla chips), he’s simply not given much of a character to work with. Sitting in a hotel room with a sexy woman has only so many variations before the material gets old. And say what you will about 1985’s Fletch, but Chevy Chase owned that role, even if the script wasn’t nearly as good as Gregory McDonald’s books. Willis may anchor this movie with his serious presence, but because Cop Out hasn’t been written to fit Morgan, what should have been a breakout role for him devolves into more of the same. He’s far more interesting than Chris Tucker, but, unfortuantely, thanks to writers Robb Cullen and Mark Cullen, he’s just as forgettable.

Smith, of course, came very close to rebooting Fletch for the big screen, with Jason Lee set to play McDonald’s famous reporter. And the closing credits, just before a scene set in a morgue, grace us with Stephanie Mills’s “Bit by Bit,” the theme song from Michael Ritchie’s 1985 movie. Clearly, Cop Out, a film that more than lives up to its title, must have appealed to Smith as a fun substitute for the aborted Fletch remake. (Indeed, Smith took a reported pay cut to ensure the R rating, although the film flinches from depicting violence and is about as safe as a PG-13 movie.) But if Cop Out is the lackluster result, it appears that audiences may have dodged a bullet.

The Bat Segundo Show: Kevin Sampsell

Kevin Sampsell recently appeared on The Bat Segundo Show #322. Mr. Sampsell is most recently the author of A Common Pornography.

Condition of Mr. Segundo: Airing his dirty laundry.

Guest: Kevin Sampsell

Subjects Discussed: Maintaining an emotional spectrum within the two editions of A Common Pornography, balancing sweet material with darker installments, how the death of Sampsell’s father (and subsequent revelations) altered Sampsell’s perspective, the great lie of memory, how memory affected chapter length, wrestling, changing people’s names, telephone conversations with mysterious legal people, the photo that didn’t make it into the book and inappropriate implication, passing on a textual legacy, the pretensions and dangers of writing about one’s self in a heroic or self-deprecatory manner, the emotional incongruity of writing about the past in the present, Jonathan Ames, Kevin Keck, the ideal word unit to access the past, on not passing judgment from the present vantage point, mathematical precision within prose, the stigma of counting the number of times you make love with someone, the influence of sports statistics upon consciousness, rash speculations on football players wearing a jersey with the number 63, determining divorce status from gesture, candor without commentary, self-deprecation and snark, arresting opening lines, in which the correspondent (due to the lateness of the hour) hallucinates a list of questions that doesn’t actually exist in the book, effective ways to arrange a pornography collection, Pee Chee folders and why some people don’t know about them, how to organize manuscripts vs. how to organize porn, debate over whether Mr. Sampsell has remained “normal,” the difficulties on reconnecting with people through Facebook, learning about unexpected outside perspectives while chronicling the past, putting it all on the line, and the difficulties of identifying one’s self as a writer.

EXCERPT FROM SHOW:

Correspondent: What was it about the radio school instructor’s body language that suggested “a few divorces in his past?”

Sampsell: (laughs)

Correspondent: I bring this up because given how your family and your friends judged you — at least based off of my reading of the text; I obviously wasn’t there — such as Pam claiming that her little brother had beat you up. Isn’t there a certain paradox in ascribing such judgment to others within the text like this? Or do you exonerate yourself from the judgment, because as we’ve been discussing, you’re doing candor without commentary.

Sampsell: Yeah. I mean, I don’t think I should say, or we should say, that there is no commentary throughout the book. Because there probably are a few times where there is some understated commentary or maybe some snarky comments. The radio/TV teacher that I had — I totally remember him as being this kind of Marlboro Man kind of guy. And he did have this posture that was kind of slouchy and defeated. And he seemed — I think he was probably like in his fifties or something like that. And he just kind of had this sloppiness to him.

Correspondent: Maybe he was happily married and he just didn’t like his job.

Sampsell: Maybe.

Correspondent: I mean, “a few divorces in his life.”

Sampsell: Yeah.

Correspondent: That’s pretty judgmental, man.

Sampsell: (laughs) Yeah, I don’t know. I think as a kid, when you see people like that, I think most — a lot of my teachers, anyway — I remember as being fairly upbeat. Maybe stern. Maybe a little cheery or whatever. And then there are some that just seemed worn out. And I just remember him being this kind of worn out kind of character. I liked him a lot.

Correspondent: But how do you get from worn out to divorce?

Sampsell: (laughs) Well, maybe that’s just my perspective.

Correspondent: Aha! There is commentary, I see.

Sampsell: Because there’s commentary in other places too. Like the chapter about the prostitute. I mean, there’s a number of — I’m sure — snarky comments about her. There’s snarky comments about me as well.

Correspondent: Well, let’s be clear on this. I mean, are self-deprecatory comments about yourself really snark?

Sampsell: Yeah, I don’t know. I’m not sure what you’d call it.

Correspondent: Selfark? I don’t know. “Taternuts” begins with a line, “This is how I learned about cunnilingus from a policeman’s wife and became a legendary fryer at the same time.” Now that’s an opening line. It reminded me of Anthony Burgess’s Earthly Powers — that famous line. But it invites the reader to plunge further and yet other sections don’t quite have that lede. And I’m curious why you felt particularly compelled to grab the reader by the lapels with that particular section.

Sampsell: Oh, I don’t know. Yeah, that’s kind of interesting. When I write fiction, I am a firm believer that the first sentence should be really strong. And that comes from the Gordon Lish/Gary Lutz/Diane Williams school of writing. Or whatever it is like that. That’s what you’re supposed to do. Have a really great first line. Build your story sentence by sentence. I don’t necessarily do that in this book. But, in fact, a lot of the first lines in this book — a lot of the first lines in the chapters — I think are probably pretty simple.

The Bat Segundo Show #322: Kevin Sampsell (Download MP3)

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