The Spiral Staircase. Karen Armstrong

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СКАЧАТЬ of course, it wasn’t like that at all. I am trying to describe an experience that has nothing whatever to do with words or ideas and is not amenable to the logic of grammar and neat sentences that put things into an order that makes sense. Maybe I could explain it better if I were a poet. But I am sure that this is the kind of horror that Hieronymus Bosch tried to convey in his paintings. It is as though a comforting veil of illusion has been ripped away and you see the world without form, without significance, purposeless, blind, trivial, spiteful and ugly to the core. T. S. Eliot describes something similar in the third poem of Ash-Wednesday. He is climbing a spiral staircase, a mythical image of the ‘ascent’ of the mind and heart to spiritual enlightenment. But ‘At the first turning of the second stair’ he sees a shape twisted into the banister, surrounded by vaporous, foetid air, and he is forced to struggle with ‘the devil of the stairs’. He leaves these convoluted forms behind, and at the next turning finds only darkness: ‘Damp, jaggèd, like an old man’s mouth drivelling, beyond repair, Or the toothed gullet of an agèd shark’, the underbelly of consciousness that lurks in the basement of all our minds.

      When the horror recedes, and the world resumes its normal shape, you cannot forget it. You have seen what is ‘really’ there, the empty horror that exists when the consoling illusion of our mundane experience is stripped away, so you can never respond to the world in quite the same way again. The revelation remains embedded in your soul and affects everything you feel and everything you see. But when you try to express this vision in words, you inevitably distort it, and find yourself writing purple, melodramatic prose. Better to be as simple as Coleridge, when he describes the recurrent terror of the ancient mariner after his ordeal, which makes him feel:

      Like one that on a lonesome road

      Doth walk in fear and dread,

      And having once turned round walks on,

      And turns no more his head;

      Because he knows, a frightful fiend,

      Doth close behind him tread.

      The words are flat, and the image of the ‘frightful fiend’ deliberately banal, but the simple description of a fear that is constantly beside you but just out of reach captures the sensation exactly.

      This was not an isolated experience. Some weeks later, while I was shopping in Cornmarket, the world seemed to have lost all connection with the fundamental laws that give it meaning and coherence. It took on the grotesque aspect of a cartoon. The women ahead of me in the queue at Marks and Spencer looked as though they belonged in a primitive painting by Beryl Cook; their features became coarse and alien. Again there was that paralysing fear. I had no idea where I was or what I was doing. When I reached the till, the woman sitting behind it seemed to be shouting at me, pointing to my purse. I stared back at her blankly, unable to understand what she was saying or what she wanted me to do. Somebody took my purse from me, and opened it, but I could make nothing of the round metal discs inside. Dazed, I put down my wire basket and wandered out into the street. I don’t know how long it was before I found myself sitting outside Brasenose College in Radcliffe Square, contemplating the perfect dome of the Camera, an image of wholeness and harmony. It was one of my favourite haunts, a place where I loved to come and study. It had been raining. I was wet and chilled, but back in my skin on a planet that had returned to normal.

      I never imagined for one moment that these were supernatural visitations. I knew at once that I must be ill and assumed that, like my fainting attacks, these ‘visions’ were symptoms of strain. This seemed oddly appropriate. The world that I had rejected had turned on me and exacted a revenge, in which my surroundings periodically took on a nightmarish unfamiliarity. But as these strange interludes became more frequent, I became frightened, and took myself off to the doctor. How was I going to live with a horror that descended upon me without warning and made it impossible for me to function? It seemed as though the world and I had become chronically incompatible; that I would never be able to live in it. And what if one day I remained trapped on the other side of the looking glass?

      The doctor dismissed these worries as excessive but agreed that I was not very well. He talked sagely about ‘anxiety attacks’, told me that these things happened, were fairly common and could easily be dealt with. After all, I had been under a strain; I was probably working too hard. In my final year now, was I? Exams next summer? Yes, people often got het up about these things. But in view of my … er … history, it might be a good idea to go and see a specialist. He knew a very good chap at the Littlemore Hospital. Somebody would write to me in due course to set up an appointment. Good idea to talk things over, perhaps take some medication – only temporarily, of course – to get rid of these bouts of panic, and then I’d soon be on my feet.

      The Littlemore. One of Oxford’s two psychiatric hospitals. My heart sank. I had seen it coming, but now that the process had been set in motion, it felt like a real defeat. Psychiatry had certainly not been part of the convent ethos. The very idea of ‘talking things over’ with anyone was anathema. But I could see no alternative. The way both the doctor and the college nurse had taken refuge immediately in cliché when confronted with my predicament indicated that they felt out of their depth. I needed expert help, but I still shrank from exposing the mess of my life to a stranger, who would examine it clinically and make his own appraisal, and I hated the prospect of being known to be mentally ill.

      It was partly to prevent this, I suppose, that I started to become more reclusive and reserved. I was afraid of experiencing one of these uncanny episodes when I was with other people. I had lost confidence. Where previously I had felt only shy and socially inhibited, I could now place no trust in either my body or my mind. I no longer took it for granted that I could get through a party or a quiet evening with friends without succumbing to this malady, and, indeed, I had noticed that the flickering lighting to which people seemed so strangely addicted these days made me feel very odd indeed. And so, just as I had started to put out feelers to the world, I began to withdraw again.

      There was another, deeper reason for this. These frightening incidents were changing me. I now knew that at any second, the pleasant, innocent-seeming surface of normality could split apart, and this knowledge infected everything. I knew that other people had been to this dark place. I could see it in Van Gogh’s tormented, writhing olive trees and swirling starry skies. It was in the infernal visions of Bosch; it was the heart of darkness evoked by Joseph Conrad. It didn’t matter how often I told myself that these experiences had no substantive reality. However you accounted for them, this was a region of the human mind. And because I had visited it, I felt set apart. I was surrounded by girls whose existence was beginning to blossom. Most of them were hopeful, cheerful and excited by their unfolding lives, but I could no longer share this instinctive optimism. I was now doubly out of place among my fellow-students, as though I were the wicked fairy in the story, brooding balefully over the party.

      Increasingly I felt as though I were witnessing everything at one remove. As time went on, solid physical objects appeared ephemeral, and people seemed like ghosts, with no clearly defined identity. When your surroundings can so suddenly take on a frightening aspect, you start to experience them as fluid, unreliable and without inherent integrity. Things seemed to flow into one another; a kind face could rapidly become menacing, a pleasant landscape take on a malign aspect. Sometimes I felt as though I were looking at reality through a sheet of glass. If I put my hand out to touch an object. I often expected to feel this barrier; sounds seemed faint and dim. This happened so gradually and became so habitual that, after a time, I ceased to remark upon it. It became the norm, the element in which I lived. I was rather like the little fish in the Sufi parable, who asks his mother about this stuff called water that he hears everybody discussing but which he has never seen. It is not until the condition lifts that you realize that it was abnormal. At the time, it simply seemed that the world from which I had retreated had now begun to recede from me.

      This made it even more difficult to relate to other people. When you feel that you are talking СКАЧАТЬ