Arguing with the God Within

Near the end of Ingmar Bergman’s classic Winter Light, the troubled minister who is the film’s main character, can’t decide whether to hold the 3 o’clock service or not. His day has been especially depressing because he gave counseling to a parishioner who subsequently committed suicide that very afternoon, he fought with his mistress, and he has the flu. The church sexton, a disabled survivor of a railroad accident, talks to him about the part of the Gospels which he has been reading, the Passion.

Jesus, the sexton reasons, didn’t suffer all that much on the cross. Why, the janitor goes on, he personally suffered more pain in his life than the four hours that afflicted Jesus and his pain was probably much worse. No, the crucifixion is not the most important segment of the Passion. Think of the Garden of Gethsemane, he says. The Last Supper is done. The disciples who have accompanied him have no clue about what is about to happen, so they go to sleep. Jesus is all alone, so he kneels down to pray. And what does God the Father say to him? Nothing. God is silent. And that, the sexton reasons, is the most terrible ordeal that Jesus endures.

Agnostic that I am, I still value the Gospels as a guide for understanding the suffering that is happening in my life. But what I would give for a silent God at times! In the void, my depressions fill the emptiness with the voice that is the worst of the Old Testament combined with Catholic guilt. I call this my inner god — a false god to be certain — because its primary purpose is to torment me. My illness exists, according to this voice, for the purpose of punishing me. But therapist after therapist has asked me What have I done that is so terrible that I deserve this constant hammering at my self-esteem? I can throw out a number of things, but they are all trivial compared to the actions of some of my peers who feel no shame for what they wreak against others. Surely there should come a place where my penance is over? But no matter what amends I make, the god inside me continues to berate me and declare me worthless.

One reason why I value my manias is that they shut down this voice entirely. Only my own ideations occupy me — obsessively. My thoughts race from project to project, propounding desperate philosophies that enthrall me more than methamphetamine. The evil god, the blasphemer against my happiness is put to death and does not rise again until I crash. Then for more than forty days at a stretch, the god assaults me with shame.

For the depressed and the anxious, the silence of God is a scream.

The Hidden Side of Gia Carangi

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A cult has grown around the memory of dead supermodel Gia Carangi, mostly due to the movie of her life with Angelina Jolie in the title role. The film explores many facets of her troubled personality including her drug use, her obsession with her lover, her bisexual promiscuity, and her death from AIDS. Her problems, we are led to believe, stemmed from her drug use which made her irritable, anxious, depressed, hyper, and in the end terminally ill with HIV.

Many have speculated that Gia was bipolar. This could be a strong post-mortem diagnosis given her interludes of manic behavior and severe depression. A Gia Carangi fan site says

Gia frequented New York’s jet-set night spots, such as Studio 54, and developed a heroin problem during the latter part of her life. Because of Bipolar Disorder, Gia experienced extreme mood swings and would walk out of a fashion shoot if she didn’t feel like doing it. She constantly medicated herself with heroin. Carangi made several attempts at fighting her heroin addiction, attending rehabilitation centers multiple times. In 1983, she was profiled on ABC’s 20/20 magazine, in a piece focusing on the dark side of modeling. In June of 1986, she was diagnosed with HIV, becoming one of the first famous persons to be diagnosed with the disease, and also the first famous female diagnosed.

The makers of Gia completely overlook the possibility that Carangi’s eccentric behavior was driven by an organic brain dysfunction. None of the semi-fictional “interviewees” alludes to bipolar disorder though likely symptoms are depicted.

Why is this angle on Gia’s life ignored? In the post-Nancy Reagan “Just Say No” era, a certain anti-romanticism has developed around the drug culture. Many find it far easier to blame irresolution as a friend leads one down the wrong path than to admit a deeper dysfunction. It is more glamorous to be a drug addict than a sufferer of a mental illness. Many of Gia’s fans could buy into the myth that people with mental illness cannot contribute meaningfully to society as Gia did.

A few months ago I read another one of those articles which disputed Kay Jamison’s contention that Vincent Van Gogh was bipolar. The author argued that based on recent evidence that showed that Van Gogh had not committed suicide, Jamison’s diagnosis was wrong. The writer ignored all the letters and accounts of his bizarre behavior including his cutting his ear off as a message to a lover, reducing his end of life depression to grief over the death of his brother Theo. I finished the piece with the impression that she just didn’t want to acknowledge that bipolar was anything but a completely debilitating illness whose sufferers could not give the rest of the world anything of value. That the article appeared in a magazine that prided itself on its skepticism — truth-seeking — saddened me. Because this was the latest instance of its subtly disparaging those with mental illness, I have since ended my subscription.

We think better of drug addicts than we do of the mentally ill. This may be the main reason why Gia’s heroin abuse is seen as the root of all her problems when, in fact, it may have been a symptom and an attempt to curb the wild manias and low depressions that afflicted her. We cannot know for sure because Gia died before seeking treatment. Rehab programs don’t have good records of identifying those who live with conditions like bipolar and schizophrenia, rooting everything in the relationship the addict has with her or his drug and those around them. Gia’s biographers have mostly retold her story as a fable about her undefined weak character. If we are honest, however, we will not allow Gia’s memory to serve such a shallow purpose as merely warning people away from drugs. A far more potent message can be sent about the importance of recognizing mental illness in ourselves and in our loved ones. What if Gia had been put on a combination such as lithium and lamotrigine? If our intent in retelling her story is to save lives, let’s make sure that we put our focus on the right cause.