Reflection Statement: Winter Solstice

Reflection Statement: Winter Solstice

Once electing the English Extension II course and analysing various forms of expression, I decided that a short story medium would most effectively convey the desired meaning, as it demanded the audience’s close interaction with the text. Moreover, the fluid nature of the short story medium meant that I was not limited by conventional boundaries, and could explore structure and form. The initial inspiration stemmed simply from my prevalent interest in psychology and the human condition. “Winter Solstice” is based on Bipolar Disorder, and its inextricable link with the creative temperament, revealing how manic highs may exalt the human condition to unforeseen heights and act as a ‘muse’ for creativity. However, it further delves into the impact this mental illness exerts on the social and personal spheres - revealing the diverse implications of the illness. At the core of the work was my belief that the sufferers of Bipolar may essentially find their ailment as vital to their art, defining who they are and giving them a sense of identity. Hence, central to the piece was the notion that eradication of Bipolar and consequently the fantastical “highs” associated with the disease may result in simply “A race of stoics – men without imagination, brains without personality, souls without genius.”

The title alone “Winter Solstice” is reminiscent of the motifs of the seasons embedded throughout the piece. Moreover, as the shortest day and longest night of winter, this period is innately symbolic of the protagonist Illy’s prolonged misery and isolation (depression.) In addition, this marks the onset of spring and ultimately depicts a time of renewed hope. This notion was influenced by the beliefs held by the ancient Japanese, reflecting the “Amaterasu ” celebration. I felt this enriched my work – utilising the title on a deeper level. Hence, the symbolism of the lotus leaf “He glared downwards towards the sole lotus leaf earring drowning in his palm, clutching it firmly with both hands and pressing it to his ches.” acts as a stimulus for audience curiosity – as Illy may be viewed as the creative Goddess who emerges from her “Cave of depression” – bringing light back into the world through her work. This further suggests the richness and vitality of art, and its pivotal role in human experience, exalting humanity above the morass of utilitarianism.
Research was vital in order to maintain integrity throughout the work, the most obvious information needed being the symptoms and implications of the disorder itself. This stemmed from the text, Touched with Fire – which explores the overlapping nature of the Bipolar and creative temperaments. However, the story required a personal, not simply clinical account of bipolar. The inspiration for my protagonist was garnered from witnessing a family member during an episode of her depression, and also from the memoir Daughter of the Queen of Sheba reflecting on the mania of the illness.

Initially, I wrote this piece with a limited audience in mind, namely sufferers of bipolar and those aware of the nature and consequences of the illness. However, feedback from a different people including teachers, family and writing group tutors elucidated the notion that each person essentially brings their own understanding and context to the piece. Thus, I altered the plot and characters to make it accessible to a broader audience – this included removing cryptic descriptions and revealing the characters inner motives through dialogue, removing narrative tautology and authorial intrusion which resulted in the characters loosing their “voice” through the work.

Several plot directions were brainstormed, and I realised that the inner motives of the protagonist could not be revealed without a secondary character. Hence, society’s fixation with “normality” manifested itself through Harlowe Browne, who initially represented the prejudices engrained in society. Thus, the entire purpose of the story was not to simply inform, but primarily to challenge social stigmas relating to disease and forcing the audience to question preconception, form a connection with this “underclass” and learn to appreciate the richness prevalent in human diversity, far from the limiting nature of homogeneity.

These innate concerns were explored through the subtle inclusion of motifs. The cat motif embedded throughout the work hinted the gentle yet sinister nature of both protagonists, and the ‘stalking’ nature of the illness. “I see it creep in, Stretching its paws on the table, Rubbing against the soft wood. Green eyes shoot me, its claws revealed, Teeth gleaming.” The notion that Harlowe “Felt the cat intertwined between his legs, rubbing softly against his calf.” symbolises a silent reconciliation, reflecting his growth yet also aiming to emphasise his growing acceptance and appreciation of the disorder. In addition, the motif of the beach was vital as an expressionistic device utilised to mirror Illy’s inner state. It was essentially a place of solitary reflection and deep contemplation; the sea as transformative, endless and often deceptively calm like the illness itself.

Thematically, it was also influenced by the Advanced English module In the Wild examining how those who do not fit social expectations are marginalised. It aimed to reveal the turbulent mental, emotional and social landscape that impacts and creates the individual. Another key influence on both the style of the work and characterisation of Harlowe, was the novel Crime and Punishment, especially in the scene just after Illy’s departure. The psychological struggle and utter devastation of the protagonist was influenced by Dostoyevsky’s strong and vivid characterisation of Rodion.

In addition, my style of writing was influenced by Virginia Woolf, and her stream of conscious narration, also reminiscent of Michael Cunningham’s The Hours. , studied in the preliminary Extension English course. This is particularly evident when Illy is experiencing a manic “cooking” state and seems to be rambling incoherently. Several allusions embedded throughout the text aimed to reveal both the internal mind frame of the characters whilst exploring their underlying appreciation of literature, hence Harlowe’s collection of “the fraying works of Dickens ” and his appropriation of “Anna Karenina” in his assertion that “All unhappy families are alike. And all happy families are just pretending. ” Moreover, after researching the works of Sylvia Plath, and reading into her relationship with depression, I was inspired to allude to “Daddy” in order to emphasise her deluded and fragmented state of mind experienced by Illy. The irrationality of her statement as she stabs the officer, ‘Told you not to interrupt, daddy, the Lords waiting for you’ reflects inner turmoil whilst also revealing the violence associated with the illness.

Stylistically, I looked into the Surrealist movement, reading works by Jorge Luis Borges, including “The Lottery in Babylon ” and “The Circular ruins .” The abstract and twisted nature of surrealism writing may encapsulate the Illy’s delusions perfectly. However, it was obvious that the state of the individual during mania was simply too irrational and would make next to no sense, especially when combined with a style of writing which already emphasised the absurd. This would serve only to confuse and detach the audience, and hence the style of my work had to be altered.

The stylistic features of the work were also impacted by the “Short story” course run by Pippa Kay at the NSW Writer’s Centre. This gave me insight into the effective use of language, and how “over description” may subtract from the narrative. Hence, the editing process relied heavily on removing any superfluous description, and saw major scenes altered significantly in order to allow the audience to deduce certain things for themselves.

A crucial element driving the plot involved the characterisation of Harlowe, which proved extremely problematic, especially in relation to his motives and dialogue. The film American Splendor influenced the formation of Harlowe. The relationship between the characters was yet another challenging aspect in creative process. As the narrative developed, several disjunctions in character actions and emotions become apparent, and hence the building up of the relationship is a constant focal point throughout the piece. Moreover, the nature of a short story resulted in significant alterations to the cynical Harlowe, as over a short narrative time frame it was virtually impossible to realistically alter the character to achieve the desired end result. Hence, the dialogue was reworked several times, often to “soften” the tone and allow the audience an insight into the character’s vulnerable state.

The setting, needing to reflect the underclass and those on the outskirts of society, arose from the old caravans in a tourist park I noted, whilst on holidays at the South Coast. In order to maintain textual integrity, I was required to look up NSW legislation relating to the treatment of the mentally ill. This research manifested itself through the ‘temporary patient order ’ – as having Illy admit herself to hospital would contradict the purpose of the story.

There were various issues relating to the structure of the story, and how to capture the passing of time proved problematic. The initial plot spanned several years, yet was condensed into a single year in order to both heighten the drama and give a sense of immediacy. The research into bipolar proved vital, as Illy’s depression coincides with Seasonal Affective Disorder . The seasons also acted as an expressionistic tool, yet were successful in indicating the passing of time simultaneously. Moreover, time markers, such as the Bottlebrush, which flowers in Spring, were subtle techniques to indicate the passage of time.

The impact of feedback was another major issue which altered the short story, as I aimed to provide a work which was appropriate to the audience without writing directly for them. Hence, subjective feedback made this difficult as I had to choose between altering the ending to satisfy a wider audience, or slightly adjusting the ending which I felt encapsulated my original idea (which had been altered by the unforeseen importance of Harlowe as a major, rather than minor character.)

The final product was a work which explored the various aspects of Bipolar disorder. However, the core is based on the intricate and complex nature of human relationships. It examines the range of perspectives one can take on a given situation, and aims to challenge the potential audience’s preconceptions and enable them to embrace new outlooks. The work has been edited significantly, and influenced by various mediums and styles, yet the influences have essentially enriched the work, and any alterations served to clarify and strengthen the original, underlying idea. All in all, this deeply personal work proved challenging yet rewarding, exploring the impact of mental illness on concerned parties and revealing the wider social implications.