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Esmé Weijun Wang is the writer of The Collected Schizophrenias. The collection is a combination of personal narratives, references to popular culture and historical events, institutional and statistical analysis, and Wang’s musings on all of the above. Wang was diagnosed with schizoaffective disorder in her early twenties after living with a misdiagnosis of bipolar disorder for several years. As a result of her illness, Wang has experienced a wide array of traumatic events, ranging from her delusions (being dead or thinking she has superpowers) and hallucinations (seeing corpses, her abusive ex, and more) to being discharged from Yale and involuntarily hospitalized three times, to her experiences with the spiritual world and the occult. These experiences shaped the person she became, her ideals, and the way she leads her life, illustrating The Interweaving of Mental Illness With Identity. Wang’s portrayal is honest and informative, with small doses of humor and sarcasm throughout. Wang pairs her experiences with information to lay a solid foundation for the messages she hopes to impart to the reader, including Hope in the Face of Great Challenges, the prevalence and resulting problems of Stereotypes and Stigmatization of Mental Illness, and the ways Institutions Fail to Treat and Prevent Mental Illness.
Wang’s essays indicate several things about her character and her views on mental health. By writing this collection, Wang shows that she is willing to open up about deeply personal and often embarrassing experiences, and she does so without shame. One example of this is the anecdote about developing Cotard’s delusion, in which she describes herself as crying with joy as she announces to C. that she is dead. The scene’s dark humor exposes Wang’s humanity. In revealing her experiences with schizoaffective disorder, Wang not only contributes to the destigmatization of the illness but also provides comfort and relatability for people with it and similar disorders. Wang devotes much of her time to destigmatization, hosting talks, interviews, and podcasts to talk about schizoaffective disorder, living with mental illness, and the unique challenges and systemic obstacles that people with psychotic disorders face.
Wang is not only honest about her experiences but about what she sees as institutional problems. This includes issues like Yale’s failure to support her mental health or allow her readmission once she recovered; the exposé of NAMI, which fails to support people with mental disorders as it claims; and the systemic abuse endured by people in psychiatric facilities. Not only does Wang have personal experience with these issues, but she also cites interviews and outside sources to cement their importance.
Finally, in writing her collection, Wang illustrates that she and people with even the most severe disorders are, in many ways, just like everyone else. They seek relationships, careers, and education; they care about their appearance, the way they are seen, and how they treat others; they have goals, senses of humor, and the capacity for good. Perhaps most importantly, they awake in the morning hoping today will be better than yesterday.
Wang’s husband, referred to only as “C.” in her essays, is Wang’s grounding force, her partner, and her best friend. Wang does not discuss C. very often or very thoroughly, but she mentions that they met at Yale, and after she was discharged, they spent several years in a long-distance relationship. C. understands Wang and her illness and has a lot of compassion and patience for Wang’s sometimes unpredictable behavior. Wang speaks only positively of C., although she does express the pain she felt when he communicated his concerns about having a child with a mental disorder like hers. When Wang was overcome by Cotard’s delusion and unable to return to a sense of reality about her existence for several months, C. helped her through it by telling her who she is and assuring her she exists: “When people die, they are buried, and then you don’t see them again. That’s what happened to Grandpa this year. I don’t see him anymore, but I see you” (158). Wang admits that her illness has, at times, damaged her relationship with C., but it has thankfully never done so to the point of breaking.
Francesca Woodman was a photographer who used her craft to create emotive black-and-white photographs. These photographs were usually either self-portraits or photographs of other women, and they featured ominous tones, blurred imagery, nudity, and subjects blending in with the environment. Francesca Woodman died by suicide at age 22, and while Francesca did not reveal the reasons for her suicide, it is speculated that she grew frustrated with a lack of recognition for her art.
Wang was heavily inspired by Francesca’s work and went to see her collection when she was 28. She sees the photographs as highly relatable and expressive of many of the experiences, emotions, and thoughts that she has endured. Because Wang often feels separated from reality, photographs act as a grounding device and connecting bridge between herself and the real world, confirming she exists: “To take a photograph, in other words, is to participate in one’s own reality, to be a true member of the world of things” (164). Wang was inspired to take her own photographs during episodes of psychosis, and many of them imitate Francesca’s blurred realism style.
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