John Lennon, Richard Nixon, and Presentism in Our Discussion of Mental Illness
So I'm reading a new book about Richard Nixon and it's got me thinking about presentism in how we discuss Richard Nixon's mental illness(es), and, because I have Beatles brainrot, it's also got me thinking about whether this same mentality could affect how we talk about John.
Both Nixon and John's lives were heavily influenced by their lifelong battles with severe, persistent mental illness, but understanding the historical context of that battle and how it was fundamentally different from what a person might experience today seems to be largely ignored.
We tend to talk about Nixon in particular as if a) he or someone around him had identified that he was exhibiting symptoms of depression, paranoid delusions, and (most likely) psychosis, b) that he or someone around him understood these conditions as so-called "no fault" illnesses that could/should be treated, and c) that this treatment would have been effective.
In other words, we still understand Nixon's mental deterioration as if it had happened today.
Now, to be clear, a LOT of people in Nixon's inner circle described behavior that they personally found unsettling, and the Pentagon had stopped taking orders from the White House by the end of Nixon's presidency because they were so disturbed by his degree of disconnection from reality. So I'm not trying to argue that his condition went unnoticed -- rather, we can reasonably say that almost no one in Nixon's inner circle believed he was "normal."
(I mean, he literally screamed at God and had conversations with portraits of former presidents. It wasn't subtle.)
But the entire conceptualization of mental disorders as legitimate illnesses that can/should be treated was nowhere near as prevalent during Watergate as it is today. Even if the people around him recognized that Nixon was "acting crazy", it's not realistic to project our own ideas about mental illness onto them and assume that they conceptualized that behavior as an illness that Nixon could not control and had not chosen, believed that it was possible to treat that illness, or even had any desire to see that illness be treated.
(Incidentally, the only significant medical intervention in response to Nixon's illness was to start dosing him with anticonvulsants, resulting in significant memory loss.)
It's less clear whether Nixon himself was aware that he was losing touch with reality (my guess is "kinda"), but even if he did have insight into his mental condition he almost definitely didn't have deep familiarity with terms like "PTSD" and "psychotic break" that might help him understand what was happening to him. We can also assume that, if he did have some inkling of what was happening to him, he likely felt an even greater sense of self-hatred and revulsion at his own condition than a person might experience today.
I know there's still a huge stigma around "bad" mental illnesses, but I also know I'm incredibly lucky to have experienced a psychotic break in 2014 and not 1974. Mental hospitals were still sometimes referred to as "snake pits" because they were so horrible, and the average person did not consider someone with severe, persistent mental illness to have any future or hope whatsoever. I'm not a doctor, much less a doctor from the 70s, so I truly don't know what the prognosis for someone like Nixon would have been. But Nixon himself most likely would have believed it was very poor.
To put this another way, Nixon’s ability to have insight into his own illness was impaired by the lack of insight in the society in which he lived, and the way he processed his own experiences would have been more heavily rooted in confusion, shame, and hopelessness. Also, the degree to which we can hold Nixon to blame for failing to manage his mental illness and pursue effective treatment definitely isn't zero, but it's certainly not on par with what you could expect of a person today.
Now I'm absolutely NOT saying any of that to give Dick a free pass for the horrible things he did and said (any more than I think we should give John a free pass). Nixon was a monster in many ways. But I'd rather understand a monster within their actual context than within an imagined one.
TL;DR I think it's worthwhile to ask ourselves whether we're looking at one of the defining factors in Dick and John's lives through a distorted lens, and, if so, how that distorts our perception of them as human beings.
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Since you asked twice: 4, 61, & 66 for the fic writer asks :>
Heheh :3 (questions here)
4. Where do you find inspiration for new ideas?
I ask myself questions. The scope and number of questions depends on the idea. Am I looking to complete a next scene? Why don't I know what the character will do next? Do they need to make a decision, or does something need to motivation to move past an obstacle? Is their struggle internal or external at this moment? Are they at full capacity or are they tired or hurt and more likely to mess up or do something impulsive?
For fic ideas it's just that but broader. Usually I get a snippet of a scene or inspiration from some outside source- either my own life or some other story. Maybe I just think that two characters should meet, or be put in a situation where they have to fight. Maybe Johnny should punch Valentine in the face. Then I just work backwards from there- what kind of pressure would cause them to be angry at each other? If they have an argument can it be exacerbated by some vulnerability or just because they're having a bad day? Because something else happened and now they're on a hair trigger? What would cause them to fight instead of just walk away? And then just sort of reverse engineering the situation from there. It fails a fair amount of the time, but asking the questions themselves helps flesh things out to make it easier to work out ideas for those characters or any characters, so there's never anything lost through brainstorming.
Also honestly sometimes when I can't think of anything or I'm frustrated and want to vent or cry about it... I'll give myself a weird objective. Try a new POV. Keep it a certain length. Change tense. Write about someone without ever saying their name. It also doesn't always work, but concentrating on some new kind of goal often gets me out of the pit I've been languishing in even when it fails.
61. Why do you continue writing fics?
I love doing it, and also I can't really control my brain when it comes up with stories. So they're going to be in my head anyway, and writing them down helps me develop them and enjoy them even more. Obviously I do love and enjoy the community part of writing fanfiction, and getting feedback and engagement. (Love it. Crave it. Don't we all?) But ultimately I just love doing character studies, and constructing scenes and making things. Sometimes I "write" for hours and get very little done but I really enjoy that time, and if that ever changed I wouldn't do it.
66. How do you deal with writing pressure (ie. pressure to update, negative comments, deadlines, etc.)?
I don't think any of those things worry me too much. I do feel bad for not updating regularly sometimes but I hardly do anything regularly. I could keep a habit for 3 months and drop it in 2 days for something new. If I don't like something I'm hitting the bricks. Honestly the biggest struggle I have is that period of time just before and just after sharing a story- it's like as soon as I hit post my self-confidence dives, and by that time I've usually reviewed my own writing so many times that it just looks like garbage. Similar to saying a word over and over until it becomes meaningless and annoying? It's kind of the worst. So far the only solution I've found is to leverage my adhd and distract myself until I'm out of the danger zone. I've also found the more I do it the easier it gets, like exposure therapy. The anxiety poison damage from posting gets a little less now that I know "How It Works (tm)".
I do often get stuck on something (a scene, etc.) but my writing process is really messy and so I will leverage having multiple projects and just sort of tool around through them until I find something I can make progress on. If I have motivation I have to follow it or I'll never do anything so just going with the flow and not getting too hung up on doing things In Order or finishing my writing veggies before my writing dessert. Having little to no executive function means that there are some things that I can't do without spending extra spoons and I'm alright with some comfortable chaos.
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Chan snorts at that. “I’m not,” he says. “He hated his work. When he asked me for the transfer, he told me he would have preferred it if he were actually torturing people. He felt dishonest, befriending people, and then using them. Forcing him to stay would have pushed him too far. Khun Korn agreed. It’s best not to strain your people’s loyalty, too much.”
I loved the whole bit of Pete as part of the interrogation team, would love to read more thought on that
okay, so interrogator!pete was an incredibly late addition to the fic, but i ended up liking it so much that i was like, yes.
parts of pete as an interrogator came from a dinner time discussion with my brother when i was fifteen-ish? i think. (my family dinners often stray onto weird topics, so it's hard to place this conversation properly in a timeline.) anyway, my brother was telling me about hanns scharff who was an interrogator for the luftwaffe in wwii and whose main interrogation techniques were all about making the prisoner believe he was their greatest advocate. parts of his interrogation technique were adopted by the fbi.
i stand by what chan said: the best interrogators aren't always intimidating people who put you on guard. sometimes they're just friendly people who make you feel like you can trust them.
so a few little headcanons about interrogator!pete:
okay so the first thing that needs to be stated is that some of pete's ability with people comes from his childhood of abuse. because when he was a kid, his survival very much depended on his ability to read, identify, and redirect his father's emotions. pete's very good at picking up on what people are feeling and figuring out why. he's a kind, empathetic person, and a really good friend.
he's also really fucking good at getting people to do what he wants.
i think pete made a conscious decision not to manipulate people when he was probably in his teens. he knows how he could do it, but he doesn't.
as an interrogator, pete made people feel like they could trust him. chan mentions this in the chapter, but it really bears emphasising: pete is kind, and compassionate, and responsive, and people like him. this is the most important part of his profile as an interrogator.
these are people expecting torture. they're expecting to be starved. beaten. hurt. so to be thrown at pete, who projects "salary-man just trying to do his job whilst also looking out for you" energy -- it was devastatingly effective.
he never beat prisoners. he never denied them food. he was always plain with them, like, "i'm doing my best to get you the best ending you can, but you've gotta work with me, because you lucked out by getting me, and someone else won't be so kind."
people genuinely felt like he had their best interests at heart. that it wasn't personal. it was just his job. he was as trapped as they are.
it worked. it worked really goddamn well. and pete hated it.
because once you have all the information a source can give you, you need to tie up the loose ends -- and that means killing them. pete was lying to these people. he didn't have their best interests at heart. and pete's greatest strength -- his empathy, his ability to genuinely connect with his prisoners -- was also his greatest weakness.
pete was pretending to be these people's friends, but there was a large portion of it that wasn't fake. pete genuinely liked them. and every time, he ruthlessly exploited them until they were of no more use, and then he had them killed.
pete was recruited into the clan when he was nineteen-ish -- at the time he was working as a bouncer at a night club, and one of the family interrogators happened to see him expertly diffuse a fight, and was like, that one please.
he made it two years as an interrogator before he decided he'd rather die than continue. he went above his supervisor (another interrogator) and made a pitch to chan. he knew a fair bit about the inner workings of the bodyguards, so he'd gotten someone to take his scores already, and presented it very much like he was expecting a hard sell. chan was unmoved by pete's pitch, and instead asked pete why he wanted the switch. pete was honest: he hated work as an interrogator, and almost wished he was torturing people instead, because at least that would have been honest.
this stuck with chan a lot. he escalated the matter to khun korn, but was plain: it's either they take pete on as a bodyguard, or wait for him to crack in a way that might divide his loyalties. and khun korn agreed, and authorised pete's transfer.
after pete was transferred, arm went to chan almost immediately, and was like, "i'll take this one for khun nu's duty, please and thank you." because pete is kind and friendly and empathetic, and that more than anything, is vital on tankhun's detail.
pete still thinks he's being hazed.
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💭 + the arts? (Music, visual arts, dance, whichever.)
send 💭 + a topic to receive a headcanon about said topic.
Gods are often glorified through the works of their followers; they are made icons, through art, poetry and music. It is a shame, then, that Adaru does not engage in the arts as thoroughly as his heralds.
Over the millennia, there have been examples of his heralds work; especially those of Sacrifice and Legend. Fear, as a character, has endured through songs of fitful terror and gruesome murals; he has been the villain of countless folktales. But Adaru himself, as an artist, is... more understated. He sees no need in telling his own story, so long as his reputation arrives before him. And it usually does.
... Even so, it is invested in preserving those stories as much as he can. You'd be surprised at just how well a low, growling voice like that can sing. At how it conducts itself with such awful grace. At the fact a little part of him, even now, holds the stories of his past so close to his chest, and is eager to retell them.
Blood and teeth and terror can only convey so much for so long. People remember stories. And Fear has been the crux of many of them.
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