88 pages • 2 hours read
Susanna KaysenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Kaysen describes the interior ‘topography’ of McLean's Hospital. It had a prison-like atmosphere with locked entryway doors and a long hall that divided the ward into two: patient rooms on the left and nursing staff station on the right The ward also featured a chalkboard where patients signed in and out when they wanted to leave the ward and go elsewhere in the hospital if they were not deemed “restricted” to the ward by the nursing staff (47).
The ward included a seclusion room, which patients could request access to if they wanted to have a tantrum. However, most of the time the seclusion room was used by nursing staff to isolate a patient who was loud or disruptive. Kaysen points out that there were no “objective criteria” to determine if someone should be placed in the seclusion room, and when a patient remained noncompliant, they were moved to maximum security (48).
Kaysen questions why so many artists, writers, and musicians have stayed at McLean, and lists several notable people who received treatment there, including Sylvia Plath, Ray Charles, James Taylor, and Robert Lowell. The author wonders whether the hospital targeted artists, or if artists “specialized in madness?” (50).
Kaysen explains that while patients were generally not allowed to access the hospital grounds, which she describes as “large and beautifully planted,” occasionally the nurses escorted patients into town for ice cream. These outings were only for patients who earned the privilege of leaving the hospital grounds; Kaysen describes how privileges could be increased or revoked depending on the patients’ behavior. Patients such as Lisa, who frequently ran away from the hospital, were considered untrustworthy and were restricted to the ward or required a nurse to accompany her, while other patients such as Kaysen and her roommate Georgina were allowed out in small groups.
On their walk to ice cream, the six patients were escorted by three nurses, who tried to keep their wards in line with their “nurse nips” of pinching, poking, and verbally reprimanding their behavior. Kaysen labels herself and her fellow patients as “lunatics” and claims that the nurses did not expect them to behave, and likewise the patients did not blame the nurses for correcting them (53).
On a spring day shortly after Daisy’s death by suicide, three nurses took Kaysen and four other patients into town for ice cream. Kaysen feels that the nurses were more comfortable that day, and guesses that it was the warm spring weather or the high nurse to patient ratio.
She was bothered by the opposites contained in the ice cream parlor’s checkered floor, which made her feel “itchy”, and she tried to ignore the black tiles and focus only on the white ones (54). Taking time to choose their flavors and make some dirty jokes, the patients and staff all ordered ice cream cones.
Much like the system of privileges, there is also a system of nurse “checks” (56). Nurses checked on patients at different intervals: five minutes, 15minutes, or 30 minutes. Kaysen laments the time she spent on five-minute checks, as the nurses constantly interrupted her activities by checking in on her, reminding her that another five minutes was “down the drain” (56). She explains that patients often preferred to spend time in the TV room rather than have their bedroom door opened and closed every five or 10 minutes. These checks continued throughout the day and night, and Kaysen compares them to a kind of metronome or pulse.
Kaysen lists the many items that patients were forbidden from using on the ward, including nail scissors and files, belts, earrings, razors, penknives, kitchen knives, forks, and spoons. The patients and staff ate with plastic or cardboard utensils, which Kaysen implies ruined their enjoyment of their meals. Patients could use razors for shaving but must be supervised by a nurse while doing so. This embarrassment and lack of privacy led to “a lot of hairy legs on our ward” (59).
Kaysen hints that McLean was not as benevolent as it appeared to guests. She feels that they designed the ward entryway to look inviting by arranging the living room and kitchen close by. However, the rest of the ward felt more constricting and created a clear dichotomy between patients and staff, or as Kaysen describes it, “Lunatics to the left, staff to the right” (47). These images underscore the opposing motivations of patients and staff.
Kaysen also describes the bare and desperate conditions of the “seclusion room”, which she says had a bare mattress, chipped walls, and chicken wire window. By noting that this room was not soundproof, she implies that patients would have to listen to people in distress in the seclusion room. Kaysen also illustrates how the staff were concerned that patients may try to self-harm or become violent with others as she lists the many items that patients were forbidden from using on the ward. This reaffirms the distrust that was felt between the staff and the patients, and the resulting unease for people who lived and worked in the ward.
In addition to these rules, the privileges system created a hierarchy within the group: Patients who were restricted to the ward were perceived as being the most “crazy” or disruptive, while patients with full “grounds and town” privileges were considered the most mentally well. Kaysen reveals that these distinctions affected the relationships between the young women in the ward, as she and Georgina had the same type of privileges as more troubled patients and Kaysen admits “there was a bit of resentment on our part” (52).
She also uses imagery to create contrasts and questions and draws the reader into her own self-contradictory mindset. For example, she describes the spring weather as full of “hope” with “soft winds and delicate smells of warm earth”, yet in the following sentence labels it “suicide weather” (54). She continues by describing once beautiful elements of nature that are now rotten or dying, such as the magnolia’s “fleshy blossoms” that are “turning brown and rotten along the edge,” or “paper-dry daffodils” that are losing their luster (54). Again, hinting at her theme of different perceptions of the same thing, she references the laurel bush which could “crown you or poison you” (54). She continues this kind of juxtaposition in the next chapter, where she says the tiny increments of time between nurses’ checks only filled a soup spoon, which “should have been sweet but was sour, gone off, gone by without our savoring it…” (57).
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