Eat, Pray, Love Page 6
This teacher is plump and speaks slowly. This is much better.
15
The interesting thing about my Italian class is that nobody really needs to be there. There are twelve of us studying together, of all ages, from all over the world, and everybody has come to Rome for the same reason—to study Italian just because they feel like it. Not one of us can identify a single practical reason for being here. Nobody’s boss has said to anyone, “It is vital that you learn to speak Italian in order for us to conduct our business overseas.” Everybody, even the uptight German engineer, shares what I thought was my own personal motive: we all want to speak Italian because we love the way it makes us feel. A sad-faced Russian woman tells us she’s treating herself to Italian lessons because “I think I deserve something beautiful.” The German engineer says, “I want Italian because I love the dolce vita”—the sweet life. (Only, in his stiff Germanic accent, it ends up sounding like he said he loved “the deutsche vita”—the German life—which I’m afraid he’s already had plenty of.)
As I will find out over the next few months, there are actually some good reasons that Italian is the most seductively beautiful language in the world, and why I’m not the only person who thinks so. To understand why, you have to first understand that Europe was once a pandemonium of numberless Latin-derived dialects that gradually, over the centuries, morphed into a few separate languages—French, Portuguese, Spanish, Italian. What happened in France, Portugal and Spain was an organic evolution: the dialect of the most prominent city gradually became the accepted language of the whole region. Therefore, what we today call French is really a version of medieval Parisian. Portuguese is really Lisboan. Spanish is essentially Madrileño. These were capitalist victories; the strongest city ultimately determined the language of the whole country.
Italy was different. One critical difference was that, for the longest time, Italy wasn’t even a country. It didn’t get itself unified until quite late in life (1861) and until then was a peninsula of warring city-states dominated by proud local princes or other European powers. Parts of Italy belonged to France, parts to Spain, parts to the Church, parts to whoever could grab the local fortress or palace. The Italian people were alternatively humiliated and cavalier about all this domination. Most didn’t much like being colonized by their fellow Europeans, but there was always that apathetic crowd that said, “Franza o Spagna, purchè se magna,” which means, in dialect, “France or Spain, as long as I can eat.”
All this internal division meant that Italy never properly coalesced, and Italian didn’t either. So it’s not surprising that, for centuries, Italians wrote and spoke in local dialects that were mutually unfathomable. A scientist in Florence could barely communicate with a poet in Sicily or a merchant in Venice (except in Latin, of course, which was hardly considered the national language). In the sixteenth century, some Italian intellectuals got together and decided that this was absurd. This Italian peninsula needed an Italian language, at least in the written form, which everyone could agree upon. So this gathering of intellectuals proceeded to do something unprecedented in the history of Europe; they handpicked the most beautiful of all the local dialects and crowned it Italian.
In order to find the most beautiful dialect ever spoken in Italy, they had to reach back in time two hundred years to fourteenth-century Florence. What this congress decided would henceforth be considered proper Italian was the personal language of the great Florentine poet Dante Alighieri. When Dante published his Divine Comedy back in 1321, detailing a visionary progression through Hell, Purgatory and Heaven, he’d shocked the literate world by not writing in Latin. He felt that Latin was a corrupted, elitist language, and that the use of it in serious prose had “turned literature into a harlot” by making universal narrative into something that could only be bought with money, through the privilege of an aristocratic education. Instead, Dante turned back to the streets, picking up the real Florentine language spoken by the residents of his city (who included such luminous contemporaries as Boccaccio and Petrarch) and using that language to tell his tale.
He wrote his masterpiece in what he called dolce stil nuovo, the “sweet new style” of the vernacular, and he shaped that vernacular even as he was writing it, affecting it as personally as Shakespeare would someday affect Elizabethan English. For a group of nationalist intellectuals much later in history to have sat down and decided that Dante’s Italian would now be the official language of Italy would be very much as if a group of Oxford dons had sat down one day in the early nineteenth century and decided that—from this point forward—everybody in England was going to speak pure Shakespeare. And it actually worked.
The Italian we speak today, therefore, is not Roman or Venetian (though these were the powerful military and merchant cities) nor even really entirely Florentine. Essentially, it is Dantean. No other European language has such an artistic pedigree. And perhaps no language was ever more perfectly ordained to express human emotions than this fourteenth-century Florentine Italian, as embellished by one of Western civilization’s greatest poets. Dante wrote his Divine Comedy in terza rima, triple rhyme, a chain of rhymes with each rhyme repeating three times every five lines, giving his pretty Florentine vernacular what scholars call “a cascading rhythm”—a rhythm which still lives in the tumbling, poetic cadences spoken by Italian cabdrivers and butchers and government administrators even today. The last line of the Divine Comedy, in which Dante is faced with the vision of God Himself, is a sentiment that is still easily understandable by anyone familiar with so-called modern Italian. Dante writes that God is not merely a blinding vision of glorious light, but that He is, most of all, l’amor che move il sole e l’altre stelle . . .
“The love that moves the sun and the other stars.”
So it’s really no wonder that I want so desperately to learn this language.
16
Depression and Loneliness track me down after about ten days in Italy. I am walking through the Villa Borghese one evening after a happy day spent in school, and the sun is setting gold over St. Peter’s Basilica. I am feeling contented in this romantic scene, even if I am all by myself, while everyone else in the park is either fondling a lover or playing with a laughing child. But I stop to lean against a balustrade and watch the sunset, and I get to thinking a little too much, and then my thinking turns to brooding, and that’s when they catch up with me.
They come upon me all silent and menacing like Pinkerton Detectives, and they flank me—Depression on my left, Loneliness on my right. They don’t need to show me their badges. I know these guys very well. We’ve been playing a cat-and-mouse game for years now. Though I admit that I am surprised to meet them in this elegant Italian garden at dusk. This is no place they belong.
I say to them, “How did you find me here? Who told you I had come to Rome?”
Depression, always the wise guy, says, “What—you’re not happy to see us?”
“Go away,” I tell him.
Loneliness, the more sensitive cop, says, “I’m sorry, ma’am. But I might have to tail you the whole time you’re traveling. It’s my assignment.”
“I’d really rather you didn’t,” I tell him, and he shrugs almost apologetically, but only moves closer.
Then they frisk me. They empty my pockets of any joy I had been carrying there. Depression even confiscates my identity; but he always does that. Then Loneliness starts interrogating me, which I dread because it always goes on for hours. He’s polite but relentless, and he always trips me up eventually. He asks if I have any reason to be happy that I know of. He asks why I am all by myself tonight, yet again. He asks (though we’ve been through this line of questioning hundreds of times already) why I can’t keep a relationship going, why I ruined my marriage, why I messed things up with David, why I messed things up with every man I’ve ever been with. He asks me where I was the night I turned thirty, and why things have gone so sour since then. He asks why I can’t get my act together, and why I’m
not at home living in a nice house and raising nice children like any respectable woman my age should be. He asks why, exactly, I think I deserve a vacation in Rome when I’ve made such a rubble of my life. He asks me why I think that running away to Italy like a college kid will make me happy. He asks where I think I’ll end up in my old age, if I keep living this way.
I walk back home, hoping to shake them, but they keep following me, these two goons. Depression has a firm hand on my shoulder and Loneliness harangues me with his interrogation. I don’t even bother eating dinner; I don’t want them watching me. I don’t want to let them up the stairs to my apartment, either, but I know Depression, and he’s got a billy club, so there’s no stopping him from coming in if he decides that he wants to.
“It’s not fair for you to come here,” I tell Depression. “I paid you off already. I served my time back in New York.”
But he just gives me that dark smile, settles into my favorite chair, puts his feet on my table and lights a cigar, filling the place with his awful smoke. Loneliness watches and sighs, then climbs into my bed and pulls the covers over himself, fully dressed, shoes and all. He’s going to make me sleep with him again tonight, I just know it.
17
I’d stopped taking my medication only a few days earlier. It had just seemed crazy to be taking antidepressants in Italy. How could I be depressed here?
I’d never wanted to be on the medication in the first place. I’d fought taking it for so long, mainly because of a long list of personal objections (e.g.: Americans are overmedicated; we don’t know the long-term effects of this stuff yet on the human brain; it’s a crime that even American children are on antidepressants these days; we are treating the symptoms and not the causes of a national mental health emergency . . .). Still, during the last few years of my life, there was no question that I was in grave trouble and that this trouble was not lifting quickly. As my marriage dissolved and my drama with David evolved, I’d come to have all the symptoms of a major depression—loss of sleep, appetite and libido, uncontrollable weeping, chronic backaches and stomachaches, alienation and despair, trouble concentrating on work, inability to even get upset that the Republicans had just stolen a presidential election . . . it went on and on.
When you’re lost in those woods, it sometimes takes you a while to realize that you are lost. For the longest time, you can convince yourself that you’ve just wandered a few feet off the path, that you’ll find your way back to the trailhead any moment now. Then night falls again and again, and you still have no idea where you are, and it’s time to admit that you have bewildered yourself so far off the path that you don’t even know from which direction the sun rises anymore.
I took on my depression like it was the fight of my life, which, of course, it was. I became a student of my own depressed experience, trying to unthread its causes. What was the root of all this despair? Was it psychological? (Mom and Dad’s fault?) Was it just temporal, a “bad time” in my life?(When the divorce ends, will the depression end with it?) Was it genetic?(Melancholy, called by many names, has run through my family for generations, along with its sad bride, Alcoholism.) Was it cultural? (Is this just the fallout of a postfeminist American career girl trying to find balance in an increasingly stressful and alienating urban world?) Was it astrological?(Am I so sad because I’m a thin-skinned Cancer whose major signs are all ruled by unstable Gemini?) Was it artistic? (Don’t creative people always suffer from depression because we’re so supersensitive and special?) Was it evolutionary? (Do I carry in me the residual panic that comes after millennia of my species’ attempting to survive a brutal world?) Was it karmic? (Are all these spasms of grief just the consequences of bad behavior in previous lifetimes, the last obstacles before liberation?) Was it hormonal? Dietary? Philosophical? Seasonal? Environmental? Was I tapping into a universal yearning for God? Did I have a chemical imbalance? Or did I just need to get laid?
What a large number of factors constitute a single human being! How very many layers we operate on, and how very many influences we receive from our minds, our bodies, our histories, our families, our cities, our souls and our lunches! I came to feel that my depression was probably some ever-shifting assortment of all those factors, and probably also included some stuff I couldn’t name or claim. So I faced the fight at every level. I bought all those embarrassingly titled self-help books (always being certain to wrap up the books in the latest issue of Hustler, so that strangers wouldn’t know what I was really reading). I commenced to getting professional help with a therapist who was as kind as she was insightful. I prayed liked a novice nun. I stopped eating meat (for a short time, anyway) after someone told me that I was “eating the fear of the animal at the moment of its death.” Some spacey new age massage therapist told me I should wear orange-colored panties, to rebalance my sexual chakras, and, brother—I actually did it. I drank enough of that damn Saint-John’s-wort tea to cheer up whole a Russian gulag, to no noticeable effect. I exercised. I exposed myself to the uplifting arts and carefully protected myself from sad movies, books and songs (if anyone even mentioned the words Leonard and Cohen in the same sentence, I would have to leave the room).
I tried so hard to fight the endless sobbing. I remember asking myself one night, while I was curled up in the same old corner of my same old couch in tears yet again over the same old repetition of sorrowful thoughts, “Is there anything about this scene you can change, Liz?” And all I could think to do was stand up, while still sobbing, and try to balance on one foot in the middle of my living room. Just to prove that—while I couldn’t stop the tears or change my dismal interior dialogue—I was not yet totally out of control: at least I could cry hysterically while balanced on one foot. Hey, it was a start.
I crossed the street to walk in the sunshine. I leaned on my support network, cherishing my family and cultivating my most enlightening friendships. And when those officious women’s magazines kept telling me that my low self-esteem wasn’t helping depression matters at all, I got myself a pretty haircut, bought some fancy makeup and a nice dress. (When a friend complimented my new look, all I could say, grimly, was, “Operation Self-Esteem—Day Fucking One.”)
The last thing I tried, after about two years of fighting this sorrow, was medication. If I may impose my opinions here, I think it should always be the last thing you try. For me, the decision to go the route of “Vitamin P” happened after a night when I’d sat on the floor of my bedroom for many hours, trying very hard to talk myself out of cutting into my arm with a kitchen knife. I won the argument against the knife that night, but barely. I had some other good ideas around that time—about how jumping off a building or blowing my brains out with a gun might stop the suffering. But something about spending a night with a knife in my hand did it.
The next morning I called my friend Susan as the sun came up, begged her to help me. I don’t think a woman in the whole history of my family had ever done that before, had ever sat down in the middle of the road like that and said, in the middle of her life, “I cannot walk another step further—somebody has to help me.” It wouldn’t have served those women to have stopped walking. Nobody would have, or could have, helped them. The only thing that would’ve happened was that they and their families would have starved. I couldn’t stop thinking about those women.
And I will never forget Susan’s face when she rushed into my apartment about an hour after my emergency phone call and saw me in a heap on the couch. The image of my pain mirrored back at me through her visible fear for my life is still one of the scariest memories for me out of all those scary years. I huddled in a ball while Susan made the phone calls and found me a psychiatrist who would give me a consultation that very day, to discuss the possibility of prescribing antidepressants. I listened to Susan’s one-sided conversation with the doctor, listened to her say, “I’m afraid my friend is going to seriously hurt herself.” I was afraid, too.
When I went to see the psychiatrist that afternoon, he asked me
what had taken me so long to get help—as if I hadn’t been trying to help myself already for so long. I told him my objections and reservations about antidepressants. I laid copies of the three books I’d already published on his desk, and I said, “I’m a writer. Please don’t do anything to harm my brain.” He said, “If you had a kidney disease, you wouldn’t hesitate to take medication for it—why are you hesitating with this?” But, see, that only shows how ignorant he was about my family; a Gilbert might very well not medicate a kidney disease, seeing that we’re a family who regard any sickness as a sign of personal, ethical, moral failure.
He put me on a few different drugs—Xanax, Zoloft, Wellbutrin, Busperin—until we found the combination that didn’t make me nauseated or turn my libido into a dim and distant memory. Quickly, in less than a week, I could feel an extra inch of daylight opening in my mind. Also, I could finally sleep. And this was the real gift, because when you cannot sleep, you cannot get yourself out of the ditch—there’s not a chance. The pills gave me those recuperative night hours back, and also stopped my hands from shaking and released the vise grip around my chest and the panic alert button from inside my heart.