Madness

The hypochondriac is the butt of jokes. Even his butt is the butt of jokes. A story doing the  rounds in the 16th and 17th centuries concerned a Parisian glassmaker who, believing himself to be also made of glass, fastened a cushion to his buttocks in case they broke when he sat down. His anxiety was mocked by a character in a play called Lingua, Or the Combat of the Tongue: ‘I am a Urinal, I dare not stirre,/ For fear of cracking in the Bottome.’ The aim of A Body Made of Glass is to take hypochondria, or ‘illness anxiety disorder’, seriously. But in a moment of levity, Caroline

The painter in the title of Emily Howes’s first novel is Thomas Gainsborough, famous, of course, as a great portraitist – ‘the curs’d face business’, as he once called it – and landscape artist. His daughters by his wife Margaret were Molly and Peggy, immortalised in half a dozen double canvases by their father. These family pictures allow us to intrude upon the sisters’ special intimacy as we follow their development from carefree girls playing in their native Suffolk to their emergence as fashionable young women in Bath and London society. Ultimately, it’s the secret of Molly’s mental instability that keeps the two sisters inseparable One of these paintings of

As anyone who has ever been lucky enough to spend time in a psychiatric hospital knows, you don’t have to be completely mad to be there. A lot of us end up in the care of mental health professionals and jacked up on all sorts of crazy-person meds because something’s just not right: you know it, I know it, the dog in the street knows it. Those people are looking at us funny; those voices just won’t quieten down; it really isn’t safe out on the streets, so it must be better to draw the curtains, triple-lock the door and sit quietly in the dark eating only tinned fruit and

I would guess that contemporary pagans have a love-hate relationship with Ronald Hutton. With books such as The Triumph of the Moon and Stations of the Sun, scholarly accounts of the history of modern witchcraft and the ritual year in Britain, no one writes more sensitively about their worldview. On the other hand, as an academic, Hutton assiduously seeks to saw off the branch on which many of their fondest assumptions sit. The paradox can be explained. Queens of the Wild returns to one of Hutton’s key themes: the debunking of the idea that pagan practices and beliefs survived intact in Europe from archaic times. With characteristic frankness he explains

There is much more desperation in this searching and enlightening history than there are remedies. Andrew Scull is a distinguished sociologist and scholar of psychiatry. He comes across as wise, sanguine and unsurprised by his findings in this survey of how American – for which also read British – psychiatry has understood and treated the insane, distressed and traumatised from 1820 to the present. His book, however, will leave readers who are unfamiliar with the story horrified and aghast. Since my own breakdown and sectioning in early 2019 I have been working with sufferers, social workers and psychiatrists on improving the understanding and treatment of mental distress. Members of the

At the risk of encroaching on Spectator Competition territory, what is the least surprising thing for any given narrator in a particular author’s work to say? (For one of Irvine Welsh’s, a single word of four letters might be enough.) In the case of Patrick McGrath, I’d suggest, the answer comes on page 55 of his new novel: ‘I confess I feel that my sanity is under threat.’ McGrath famously grew up in the grounds of Broadmoor, where his father was the medical superintendent, and his consequent lifelong interest in psychiatry is reflected in pretty much all of his fiction. As a rule, if you’re a McGrath protagonist, you’re likely

Footling around on the internet recently, I stumbled on a clip of a young woman singing Leonard Cohen’s ‘Hallelujah’ to a full-grown cow. As she sat cross-legged, strumming away not very well on a guitar, the cow lay down beside her and gently nudged her with its huge head as adoringly as any puppy. The sight brought to mind a passage in Robert Burton’s The Anatomy of Melancholy in which he reflects on music as a remedy: Harts, hinds, horses, dogs, bears are exceedingly delighted with it; elephants, Agrippa adds; and in Lydia in the midst of a lake there be certain floating islands (if ye will believe it), that

Do you think your mother slept with T.S. Eliot? That was the question I needed to ask the 98-year-old in front of me. It wasn’t easy. I’d never met him before. After some preliminary chat, though, I realised this affable man knew exactly where our conversation was heading and had pondered the question a good deal himself. The barrister Jeremy Hutchinson — Baron Hutchinson of Lullington — was the son of Mary Hutchinson, Eliot’s close friend. Infatuated with the poet for a time, she had met ‘Tom’ and his wife Vivien before Vivien’s adultery with Bertrand Russell, and some years before the publication of The Waste Land in 1922. When

‘Some curse hangs over me and mine,’ wrote Lord Byron, and thanks to Emily Brand, who is a genealogist, it is now possible to see why Byron was so darned Byronic: excess, incest and marital misery flowed in the bloodstream. The gloom that looked like a Regency pose was entirely pre-programmed; George Gordon Byron’s script was handed to him at birth. Being mad, bad and dangerous to know was as instinctive to the Byrons as howling at the moon for a pack of wolves. When he compared his family to ‘whole woods of withered pines’, the poet was not exaggerating. Every branch was rotten. The son of a sociopath known