the last book I ever read (William Styron's Darkness Visible, excerpt three)

from Darkness Visible: A Memoir of Madness by William Styron:

Camus, Romain told me, occasionally hinted at his own deep despondency and had spoken of suicide. Sometimes he spoke in jest, but the jest had the quality of sour wine, upsetting Romain. Yet apparently he made no attempts and so perhaps it was not coincidental that, despite its abiding tone of melancholy, a sense of the triumph of life over death is at the core of The Myth of Sisyphus with its austere message: in the absence of hope we must still struggle to survive, and so we do—by the skin of our teeth. It was only after the passing of some years that it seemed credible to me that Camus’s statement about suicide, and his general preoccupation with the subject, might have sprung at least as strongly from some persistent disturbance of mood as from his concerns with ethics and epistemology. Gary again discussed at length his assumptions about Camus’s depression during August of 1978, when I had lent him my guest cottage in Connecticut, and I came down from my summer home on Martha’s Vineyard to pay him a weekend visit. As we talked I felt that some of Romain’s suppositions about the seriousness of Camus’s recurring despair gained weight from the fact that he, too, had begun to suffer from depression, and he freely admitted as much. It was not incapacitating, he insisted, and he had it under control, but he felt it from time to time, the leaden and poisonous mood the color of verdigris, so incongruous in the midst of the lush New England summer. A Russian Jew born in Lithuania, Romain had always seemed possessed of an Eastern European melancholy, so it was hard to tell the difference. Nonetheless, he was hurting. He said that he was able to perceive a flicker of the desperate state of mind which had been described to him by Camus.

Gary’s situation was hardly lightened by the presence of Jean Seberg, his Iowa-born actress wife, from whom he had been divorced and, I thought, long estranged. I learned that she was there because their son, Diego, was at a nearby tennis camp. Their presumed estrangement made me surprised to see her living with Romain, surprised too—no, shocked and saddened—by her appearance: all her once fragile and luminous blond beauty had disappeared into a puffy mask. She moved like a sleepwalker, said little, and had the blank gaze of someone tranquilized (or drugged, or both) nearly to the point of catalepsy. I understood how devoted they still were, and was touched by his solicitude, both tender and paternal. Romain told me that Jean was being treated for the disorder that afflicted him, and mentioned something about antidepressant medications, but none of this registered very strongly, and almost meant little. This memory of my relative indifference is important because such indifference demonstrates powerfully the outsider’s inability to grasp the essence of the illness. Camus’s depression and now Romain Gary’s—and certainly Jean’s—were abstract ailments to me, in spite of my sympathy, and I hadn’t an inkling of its true contours or the nature of the pain so many victims experience as the mind continues in its insidious meltdown.