The Lobotomist

Warning: This Post is a Bummer

Rosemary Kennedy, before the lobotomy

The story of Rosemary Kennedy, lobotomized at 23, is one of the saddest from a family history littered with tragedies. I once flipped through The Sins of the Father, a (no doubt sensationalist) biography of Joseph P. Kennedy, at a great used bookstore, and discovered that among the litany of bad decisions Kennedy made in his life, his decision to have a doctor deliberately damage the brain of his young daughter ranks among the worst. Rosemary, a moody girl believed by the family to be “mildly retarded” (and by others to simply have suffered from depression), underwent a secret lobotomy in 1941 and spent the remaining 64 years of her life incapacitated, prone to incontinence, and spending long periods of time staring blankly at walls. When I put down the book and left the store, I walked away wondering how in the world such a barbaric and unnecessary surgery was allowed to take place, especially within one of the richest and most famous families in America. Why wasn’t Joseph Kennedy put in jail? What doctor would advocate deliberately damaging the brain?

Many of my questions have now been answered by the excellent PBS documentary The Lobotimist, which originally aired in the American Experience series, and is free to watch online.

As it turns out, lobotomies were, for a time, quite popular in the United States, thanks almost entirely to one man. Dr. Walter Freeman, the focus of the PBS documentary and the man responsible for maiming Rosemary Kennedy’s brain with what observers described as a “butter knife,” was the inventor and main proponent of the lobotomy. He performed over 3,000 lobotomies on mentally ill patients during his career, and often performed several a day.

Dr. Walter Freeman

Freeman is a fascinating character, seemingly as driven by the allure of fame as by his belief in the procedure he advocated. The sheer audacity of a man willing to drive ice picks and butter knives into the brains of the most vulnerable leads one to wonder whether he was simply a sadist who found his outlet. The word “monster” is used several times in the documentary. It’s difficult to say whether Freeman’s intentions were altruistic (the conditions of asylum inmates at the time could hardly have been worse, and anything to make the experience more tolerable would be seen as humane), or if his drive for fame and fortune prevented him from seeing the errors in his ways. (Among the many horrifying stories in the documentary, the one about a patient who dies on the operating table because Freeman’s ice pick slips while he is posing for a photo—mid-lobotomy—has to be the most shocking.) Perhaps the real monsters of this story are Freeman’s unchecked ambition and a scientific hierarchy that allowed “experts” the unchecked freedom to perform any procedure on a whim.

Jack El-Hai, author of the definitive Freeman biography, puts it thusly: “Walter Freeman was the product of his environment, his impulse to innovate, and personal demons.” The environment El-Hai speaks of is the one in which the medical elite had the power to incarcerate patients or perform dangerous surgeries without patient or family approval, and conditions at mental asylums were bad enough to be compared to concentration camps.

It’s mind-blowing to think the Walter Freeman narrative took place in the middle of the twentieth century, and not in some other, darker age. People could take transatlantic flights but were unable to point out the insanity of a radical brain-damaging operation performed on mental patients without consent? Which is not to say Freeman’s method was without its critics. But Freeman was considered an expert in his field and, as a result, he was able to perform his procedure with impunity for several years. The surgical footage shown in The Lobotomist is horrifying, but it is the before and after photographs of patients that are most haunting. Stern faces become bewildered empty gazes, and confusion, mild fear, and strange placidity the only expressions.

It turns out my questions about how a lobotomy could possibly be performed on a member of an elite American family were off base. It was precisely because Rosemary was a Kennedy that she underwent the surgery, as her father was concerned about the family reputation. She lived the rest of her life hidden from public scrutiny in various institutions.

A young Howard Dully

The story of lobotomy survivor Howard Dully, told late in the documentary, is heartbreaking too. A hyperactive child, Dully underwent the less invasive transorbital (ice pick through the eye socket) version of the procedure at 12 years old. He has since spent his life in different varieties of trouble, from alcoholism to incarceration. Dully is surprisingly articulate, but laments that he has always lacked the ability to make proper life decisions, and blames the involuntary lobotomy his stepmother demanded when he was 12.

As difficult as The Lobotomist is to watch, it contains valuable lessons. Perhaps the most important is that even accepted, ostensibly empirical knowledge is always bound to its time, and therefore ephemeral. Watching this documentary, I began to wonder what contemporary medical practices might someday be viewed as misguided or backwards. Chemotherapy comes to mind, as one hopes doctors will create a method of cancer treatment less damaging to the body. Of course, medicine must work with available information, and these techniques have vastly improved over the last few decades. One wonders, also, how far we’ve come in the treatment of the severely mentally ill. Pharmaceutical advances in the 50s allowed for the phasing out of lobotomies, but is the chemical equivalent any better or more ethical? Will we one day regard the involuntary medication of children and the mentally ill as cruel and unnecessary?

I highly recommend watching The Lobotomist, but be warned that it is an uncomfortably heavy film about an uncomfortably heavy topic.

When News Isn’t New

Lapham’s Quarterly is one of those big, expensive magazines that I would immediately subscribe to if I came across $59 and no longer had to pay rent. To call it a magazine feels like a misnomer, since each issue is perfect bound and contains over 200 pages with no advertisements. Each issue explores a specific theme using historical texts from “Voices in Time” like Homer, Kurt Vonnegut, Aesop, and John Donne. These historical voices are complemented by essays written by living authors, and the whole magazine comes together as a wonderful and edifying exhibition of history and culture.

The combination of old and new, and the way the magazine makes topical the voices of people who have been dead for decades or centuries, seems to fly in the face of contemporary digital culture. Sure, I could read a letter from Vincent Van Gogh to his brother Theo, wherein the great artist details the depth of his depression. Or I could check out the latest Keyboard Cat video. The choice is mine to make. Such is the beauty of our time.

Lapham’s has a website, of course, and it contains a great feature that perfectly blends the instantaneous nature of online content with the magazine’s mandate of making topical the voices of history. DéjàVu promises to “bring a historical perspective to the day’s news” by taking a popular media story and finding its historical analog. It makes for great reading, and it’s always comforting to know that no matter how strange the day’s news seems, chances are good something similar has happened before, and we’ll all get through it just fine.

Analog-to-Digital Creep Outs

The Internet?

The Internet. I’ve talked about it a lot on this blog (though not for several weeks — my sincere apologies). What the hell is it, anyway? A series of tubes? “A global system of interconnected computer networks that use the standard Internet Protocol Suite (TCP/IP) to serve billions of users worldwide”? I guess so, Wikipedia. But that definition misses the point.

What makes the Internet really great, besides amazing family-run websites, image sharing, and anonymous video chats with strangers, is its endless archive of terrible video clips.

Without the Internet, whole VHS collections of terrible television moments would have likely died quiet deaths in garages and basements all over the world. With the Internet, we are privy to some of the worst moments in recorded history, and we can play them over and over again.

For example:

Rosie O’Donnell Being Terrible

Angela Lansbury Being Creepy

Your Mom Doing Her Thing

Your Girlfriend Singing that Song She Wrote for You

These are, of course, just a few of the many thousands of terrible television moments that have been preserved for our digital entertainment. If you’re interested in seeing even more, visit these wonderful repositories of all things awful:

TV Carnage

Everything is Terrible!

Ffffinding Happiness

CLICK THIS.

The editorial mandate of this blog has been left deliberately vague. In my first few attempts to begin writing, I tried a series of topic-specific ideas, but none of them panned out to anything I found interesting. So I decided to use my (obligatory school) blog as an outlet for writing about cultural goings-on and things I find interesting, despite my lack of expertise. A couple weeks and six posts in (has it really been that long?), it seems like this blog has become the little corner of the internet where I express uneasiness about all the other corners of the internet. I hope it doesn’t read like this tin foil hat is squeezing my brain too tightly. I just happen to spend a lot of time online and always catch myself thinking, “what does this all mean?” (While rocking back and forth, sweating in front of the screen.)

I love image sharing/bookmarking services like FFFFOUND! and “microblog” services like Tumblr. When combined with an RSS feed aggregator like Google Reader, these sites are tickets to an endless stream of consistently provocative, hilarious, and beautiful images. Amazing photography, illustration, and design work flow in a never-ending torrent of eye candy. It’s a great way to kill time, discover new artists, find inspiration for design projects, or have a laugh.

Now for the handwringing. I’m wondering what this immersion into images does to our valuation of art. Though I’ve seen several works that could justifiably be included in art galleries and museums (and many probably are), much of the art available has been made for nothing and added to the web totally free of context.

Pre-internet, one might only have had access to art through the aforementioned cultural institutions. Traditionally, a museum or gallery visit is a quiet, ponderous experience. This kind of consideration seems completely lost in the online sharing world. This isn’t necessarily a bad thing; it can easily be argued that museums and galleries are elitist and exclusive institutions, as even public ones carry certain social expectations that might prevent some people from attending. With access to the internet at an all-time high, these services allow people who would not normally have access to great art to see millions of works – for free. Similarly, artists who have no access to museums and galleries have access to innumerable sets of eyes on the Internet.

The trouble, though, lies in the ephemerality of online existence. Even the greatest work seems to have a much shorter shelf life in the world of Internet sharing. When I see an image I like, I might share it with friends, comment on it, and admire it for a few moments. But I’m always aware that images of a similar quality are just a click away.  What Chat Roulette does for social encounters, services like FFFFOUND! do for encounters with art.

The question is whether or not it matters.

Having said all that, these sites can be an awful lot of fun. Here are some of my favourites:

FFFFOUND!

This Isn’t Happiness

Waxin’ and Milkin’

And some of the great, context-free images:

Adventures in Chat Roulette

We live in an age overwhelmed by Next Big Things. It seems like everyday, we are greeted by some new technological development promising to change the way we work, play, or interact with one another. Sometimes these promises go unfulfilled and other times things really do seem to change.

The newest thing in the world, as far as I know, is a website called Chat Roulette. Techno-pundits might call it a “game changer.” Its premise is simple: as soon as you hit Start, the site activates your webcam and randomly connects you to the webcam of another person somewhere in the world. Ostensibly, the goal is civil conversation with a total stranger. Perhaps you could learn about his or her culture or language. In the Chat Roulette universe however, chances are better you are going to see genitalia. Or be cursed at. Luckily, at anytime, you have the option of hitting Next and a new total stranger will appear on screen. It’s an amazingly simple idea. And it’s amazingly disturbing, hilarious, and addictive.

Over the past few days, I’ve spent a lot of time thinking about Chat Roulette, a lot of time trying to avoid going to Chat Roulette, and a lot of time giving in to this newfound addiction and taking a few minutes (or hours) to peek through its portal and view the strangest people in the Internet world. I’ve seen drug use, sexual intercourse, and autoerotic self-abuse. I’ve seen embarrassed loners and desperate men, women, and adolescents. I’ve been called racial epithets, “nerd,” “Harry Potter” (I wear glasses), asked if I wanted to “see a suicide show,” and asked if I would be willing to show my penis. I’ve had civil conversations with people from Spain and insulted people from Australia. It’s been a wild ride, and much of it has happened in installments under one minute long.

Judging the proverbial book by its cover seems to be the M.O. of most Chat Roulette users, and the judgment is instantaneous. With the ability to click next and generate a totally new video connection with a total stranger, someone who looks like me (white male, 24) is unlikely to attract any attention beyond insults and the (very) occasional conversation with likeminded people. The average length of interaction when I was alone on Chat Roulette was about two seconds. But I’m totally fascinated by the sociological implications of the site, so I’ve experimented with some variables.

THE PRESENCE OF WOMEN

With a girl in the room, interactions on Chat Roulette become longer and decidedly more aggressive. It turns out most of the male audience has flocked to the site in the hopes of convincing impressionable women to show their breasts. The men on Chat Roulette are – what’s the word? – unsubtle about their desires, and a boyfriend’s presence is no preventative measure. Groups of frat-looking guys attempted to convince me that they were somehow – despite the unknown geographic distance – going to have sex with my girlfriend.

NATIONALITY AND RACE

Since judgments are made instantaneously in the Chat Roulette universe, one assumes any visual indication of nationality is accurate. When sitting in front of a Turkish flag, I was called a “fucking Turk,” told “Turkey doesn’t belong in Europe,” and “Muslims should go home” by three separate people.  In the real world, I would have a near-impossible time convincing anyone I’m ethnically Turkish. But strangers see the flag and assume. The old adage about making an “ass out of u and me” doesn’t apply in a world where the simple click of a button makes the person on the other end disappear.

PARTY POTENTIAL

The best time to enjoy the bizarre world of Chat Roulette is, without a doubt, at a party with a room full of (inebriated) people. The strangeness of the encounters is perfect fodder for laughs on a group scale. I can say from experience that the room with Chat Roulette will be the fullest at the party. This is the stuff party games are made for. I’d recommend only doing half shots if you’re going to drink every time you see a penis, unless you want to go to the hospital with alcohol poisoning.

Ye Olde Internette

Another fascinating thing about Chat Roulette, beyond the intense strangeness of the people using it, is the way it harkens back to the old Internet. Remember chat rooms? When I was 12 and my brothers and I somehow convinced our parents to start paying for the Internet, chat rooms were a big deal, and took up a significant amount of Internet time killing. When my friends and I weren’t searching for pictures of a scantily clad Yasmine Bleeth, we’d go to chat rooms looking for the weirdest interactions possible. It was totally anonymous, and an opportunity to have genuinely odd conversations with mysterious unknown users, floating somewhere out in the online ether. The Internet has changed significantly since then, with people now publishing any and all personal information on Facebook and blogs. People are no longer afraid of showing their face on the Internet, and Chat Roulette still feels weirdly anonymous in that one’s real name and location need not be divulged. It somehow manages to be face-to-face and yet totally anonymous.

If Chat Roulette becomes as big as I think it will, it’ll be interesting to see how it develops. How long until we hear of the first marriage of people who met on Chat Roulette? How long before corporations start using it as a vehicle for advertising and promotion? (Log on to Chat Roulette now for your chance to live-chat with Shaq!) How long until people have hilarious stories about inadvertently finding their parents/teachers/friends doing unspeakable things on Chat Roulette?

It may never happen, but Chat Roulette is a new, strange development in an already strange world. Should be interesting to see where we go from here.

“Long Live Physical Media”

In the last couple years, several stories have been written about the resurgence of vinyl record sales in this age of instantly accessible digital music. Despite the fact that iTunes has sold nearly 10 billion songs with no slowdown in sight, talk lately has been about vinyl making a comeback as the physical music medium of choice.

Records are suddenly available in shopping malls, a fact that has never previously been true my entire life. As a kid, the music store I frequented (a chain location) sold tapes and CDs. The mall music store has since become an endangered retail species, and those that remain have diversified their offerings, clearing music space for t-shirts, DVDs, books, video games and electronics. No music store seems entirely devoted to music anymore, as they’ve become one-stop shops for all forms of popular home entertainment. Which is why HMV’s offering a small selection of records along with all the other gadgets and gizmos is significant.

One of the main reasons people seem willing to buy new vinyl over downloading or buying CDs is that most new records now come packaged with a coupon for a free digital download of the album. It’s a great merging of physical and digital media, allowing vinyl collectors the capability CD buyers have had since burners became available, which is immediate access to a digital copy of the album.

The interesting thing about these coupons (to me at least) is how under-designed they are. One of the great advantages of records is the size of the artwork. Anyone who buys records will have a favourite album cover and many frame specific LPs as art. Yet the digital coupon tends to be a simple slip of black or white paper, containing the company logo, name of the album, and requisite download code. The copy on these slips is often clever (Secretly Canadian congratulates the consumer on his/her good taste and sloganizes, “long live physical media!”) but little to no attention is paid to design.

This is an opportunity for designers to tackle an entirely new medium. Though completely useless after the download code is used, people might begin to collect these coupons were they aesthetically pleasing. Ephemera from this age of physical meets digital. I’m waiting for someone to take it on as his or her own tiny, tiny canvas.

Don DeLillo is 73 Years Old

There’s a great interview with Don DeLillo over at The Wall Street Journal. The normally reticent genius offers some insight into his inspiration, technique, and view of the current literary scene. (“I don’t think my first novel would have been published as I submitted it today. I don’t think an editor would have read 50 pages of it.”)

Direct quotes from DeLillo are sparse here, so it’s not as if DeLillo has totally let his guard down, but the article is still quite revealing. That DeLillo still uses an old Olympia typewriter comes as no real surprise, but his being totally “insulated from mainstream American culture” is pretty amazing to me, given how well DeLillo has always nailed the strangeness of modern America. How does someone who deliberately insulates himself from culture manage to critique it so well?

Take his masterpiece Underworld for instance. Its characters express a great deal of paranoia about the present and future states of technology, much of it justified. The book is nearly thirteen years old, but the way it characterizes the Internet as a new reality, where everyone is granted anonymity (like “ghosts” in character Sister Edgar’s words) and anything goes is perhaps more true today than it was in 1997. There is an amazing paragraph in the book that perfectly juxtaposes the sound of children playing outside with a character indoors, surfing the Internet. DeLillo’s description of each real and physical item in the room as it compares to the nebulous cloud of all information on the Internet is amazing. Which is more real: the items in the room or the torrent of information available at all times online? Does it matter?

The whole book deals on some level with the overwhelming pace of technological progress. From the explosion of an H-bomb in 1951 to character Nick Shay’s job as a waste executive to recurring video footage of murders, the book views the value of technology and media through highly suspicious eyes. Though technological progress isn’t overtly blamed for society’s ills, it certainly plays a large role in the paranoia that fuels Underworld.

The book is also a great exploration of the sheer number of events taking place at all times, everywhere. This certainly mirrors our present-day Internet, where everything is chronicled in real time, often free of context. The book deals with the many implications and connections of and between ostensibly disparate happenings. How many thousands of important events are taking place out in the real world as I sit and write this blog post? Importance depends on context and is subjective, but Underworld deals mostly with events that are (arguably) universally important, at least to the “You/American” addressed in the first sentence of the book. (One of the great opening lines, ever: “He speaks in your voice, American, and there’s a shine in his eye that’s halfway hopeful.”) Which is not to say the characters in the book are without their own uniquely important, life-altering mistakes/coincidences/choices, because those are certainly present too.

As the Internet has increased its grip on our culture, it has revealed the prescience of Underworld and DeLillo.

Underworld is one of the greatest — and most affecting — books I’ve ever read, and well worth the 800+ pages.

In the end, what’s most striking about the WSJ interview with DeLillo is that he’s 73 years old. With David Foster Wallace gone, what young author is going to take over when DeLillo is no longer writing novels that cater to my paranoia about Today and the Future?

Don DeLillo’s new novel, Point Omega, is available now and the WSJ article links to an excerpt.