The Danger to be Sane
Creativity and the Eccentric Mind
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- $349.00
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- $349.00
Descripción editorial
"An ebullient examination of madness, mortality, suicide... Montero finds that 'deviance' is often just a more truthful account of normal human behavior." —Chris Kraus
A dazzling journey into the eccentric, troubled, and luminous minds that shaped literature.
In this bold, personal, and deeply researched blend of memoir, essay, literary analysis, psychological reflection, and intellectual sleuth story, Montero draws on psychology, neuroscience, creative literature, and the testimonies and biographies of authors and artists to weave a fascinating narrative on the connection between creativity and mental instability.
With intelligence, generosity, and narrative élan, Montero brings to life figures such as Franz Kafka, Virginia Woolf, Emily Dickinson, Sylvia Plath, Marcel Proust, Joseph Conrad, and Doris Lessing, painting a fresco of the ways in which the brain works, its quirks and dark corners. She breaks down the forces that influence creativity and miraculously reassembles them before the reader's eyes over three hundred gripping pages.
Like a masterfully plotted detective story, each clue leads readers one step closer to new definitions of both the creative act and of what is and is not "normal." Blending intimate memoir with wide-ranging cultural history, The Danger to Be Sane is a moving and inspirational homage to minds and lives that are outside of the mean.
'Twas a Divine Insanity—
The Danger to be Sane
From Emily Dickinson, Poem 593
PUBLISHERS WEEKLY
In this unique exploration, Spanish journalist and novelist Montero (Weight of the Heart) unpacks the relationship between creativity and madness. Combining psychological research, literary analyses, author testimonies, and her own experience with anxiety and panic attacks, Montero meditates on the nature of the brain and the forces that drive the writerly impulse. She presents several hypotheses for why writers write, including their awareness of the multifaceted nature of the self (she points to how Ursula K. Le Guin once said, "I think most novelists are aware at times of containing multitudes" and reflects on the fact that many novelists use pseudonyms and experiment with themes of imposture, forgery, and duality). Many writers, including Joseph Conrad and Philip K. Dick, had childhood trauma, she observes, speculating this is why storytellers are obsessed with the passage of time and death. Elsewhere, she traces the prevalence of mental illness among writers, parses how socialization and neurological makeup influence creativity, and examines the addictive temperaments of artists. Montero's theories are consistently intriguing, as is the suspenseful narrative she unfolds of her pursuit of an imposter who posed as her for many years when she was a young journalist in Madrid. This is rigorous and thrilling.
