Whenever I talk to anyone I care about, I am always seeking approval. There is always a pleading lilt in my voice that demands love. Even the people I work with, the ones I am supposed to have a professional relationship with, all business, get pulled into my need. I can't help it. I want to be adored.
I am motivated to write because it is what I am meant to do. It is not a choice - it is what I am. I did not choose writing - it chose me. And I believe it is necessarily that way. Anyone doing this for some other reason should not be.
I made 'Prozac Nation' necessary reading because I write necessarily. I tell my story because it is about everyone else: in 1993, people took pills to relieve the pain just like they do now, but it scared them; it doesn't any more, because talk is not cheap at all - it is tender.
I wonder if any of them can tell from just looking at me that all I am is the sum total of my pain, a raw woundedness so extreme that it might be terminal. It might be terminal velocity, the speed of the sound of a girl falling down to a place from where she can't be retrieved. What if I am stuck down here for good?
The shortness of life, I keep saying, makes everything seem pointless when I think about the longness of death. When I look ahead, all I can see is my final demise. And they say, But maybe not for seventy or eighty years. And I say, Maybe you, but me, I'm already gone.
Convention serves a purpose: It gives life meaning, and without it, one is in a constant existential crisis. If you don't have the imposition of family to remind you of what is at stake, something else will.
I was meant to date the captain of the football team, I was going to be on a romantic excursion every Saturday night, I was destined to be collecting corsages from every boy in town before prom, accepting such floral offerings like competing sacrifices to a Delphic goddess.
Lying in bed for a few days wouldn't help enact the kind of personality overhaul it would take to pull me away from my well-established pattern of mapping out escape routes, clinging to them like vines, and then watching as these lifeless forces suddenly pushed me away, though I continued to hold on for dear life.
That's the thing about depression: A human being can survive almost anything, as long as she sees the end in sight. But depression is so insidious, and its compounds daily, that it's impossible to ever see the end. The fog is like a cage without a key.
I'll see Naomi Wolf on television periodically, I have nothing against her and what she says, but I'll feel that she's a politician, like she's got an agenda to get across and that she doesn't always say what's really true or exactly what she feels.
It is so hard to learn to put sadness in perspective so hard to understand that it is a feeling that comes in degrees, it can be a candle burning gently and harmlessly in your home, or it can be a full-fledged forest fire that destroy almost everything and is controlled by almost nothing. It can also be so much in-between.
When things get unbearable, I wrap myself into a tight ball and shut my eyes. Every muscle in my body is tense. I open my eyes and I'm still where I was when I closed them to escape. Nothing's changed.
I've calmed down. Looking back, I was engaged more in dramas than I was in relationships. I've spent a lot of my life being in it for the plot, and I don't do that anymore. I'm satisfied. I'm not competing with myself. I accomplished things I wanted to do, so everything I do now is because I want to, not because I'm trying to prove something.
No one who had never been depressed like me could imagine that the pain would get so bad that death became a star to hitch up to, a fantasy of peace someday which seemed better than any life with all this noise in my head.
I'm a huge Springsteen fan, and yet if either he or Bob Dylan had to be erased from the world's hard drive, I would save Bob Dylan's work for sure - he's the greater talent, and by leaps and bounds and skyscrapers and rocket blasts. But Bob Dylan is an alien to his public.