Jonathan Franzen Quote

Even harder to admit is how depressed I was. As the social stigma of depression disappears, the aesthetic stigma increases. It’s not just that depression has become fashionable to the point of banality. It’s the sense that we live in a reductively binary culture: you’re either healthy or you’re sick, you either function or you don’t. And if that flattening of the field of possibilities is precisely what’s depressing you, you’re inclined to resist participating in the flattening by calling yourself depressed. You decide that it’s the world that’s sick,, and that the resistance of refusing to function in such a world is healthy. You embrace what clinicians call depressive realism. It’s what the chorus in Oedipus Rex sings: Alas, ye generations of men, how mere a shadow do I count your life! Where, where is the mortal who wins more of happiness than just the seeming, and, after the semblance, a falling away? You are, after all, just protoplasm, and some day you’ll be dead. The invitation to leave your depression behind, whether through medication or therapy or effort of will, seems like an invitation to turn your back on all your dark insights into the corruption and infantilism and selfdelusion of the brave new Me World.

Jonathan Franzen

Even harder to admit is how depressed I was. As the social stigma of depression disappears, the aesthetic stigma increases. It’s not just that depression has become fashionable to the point of banality. It’s the sense that we live in a reductively binary culture: you’re either healthy or you’re sick, you either function or you don’t. And if that flattening of the field of possibilities is precisely what’s depressing you, you’re inclined to resist participating in the flattening by calling yourself depressed. You decide that it’s the world that’s sick,, and that the resistance of refusing to function in such a world is healthy. You embrace what clinicians call depressive realism. It’s what the chorus in Oedipus Rex sings: Alas, ye generations of men, how mere a shadow do I count your life! Where, where is the mortal who wins more of happiness than just the seeming, and, after the semblance, a falling away? You are, after all, just protoplasm, and some day you’ll be dead. The invitation to leave your depression behind, whether through medication or therapy or effort of will, seems like an invitation to turn your back on all your dark insights into the corruption and infantilism and selfdelusion of the brave new Me World.

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About Jonathan Franzen

Jonathan Earl Franzen (born August 17, 1959) is an American novelist and essayist. His 2001 novel The Corrections drew widespread critical acclaim, earned Franzen a National Book Award, was a Pulitzer Prize for Fiction finalist, earned a James Tait Black Memorial Prize, and was shortlisted for the International Dublin Literary Award. His novel Freedom (2010) garnered similar praise and led to an appearance on the cover of Time magazine alongside the headline "Great American Novelist". Franzen's latest novel Crossroads was published in 2021, and is the first in a projected trilogy.
Franzen has contributed to The New Yorker magazine since 1994. His 1996 Harper's essay "Perchance to Dream" bemoaned the state of contemporary literature. Oprah Winfrey's book club selection in 2001 of The Corrections led to a much publicized feud with the talk show host.