Writer, Paul West
I looked this up when an episode of The Waltons he wrote came on tv:
“You know, dear,” I said to him one day, about two months after the stroke, when he was feeling mighty low, “maybe you want to write the first aphasic memoir.” He smiled broadly, said, “Good idea! Mem, mem, mem.” And so he began dictating, sometimes with mountain-moving effort, and at others sailing along at a good clip, an account of what he’d just gone through, what the mental world of aphasia felt and looked like. Writing the book was the best speech therapy anyone could have prescribed. For three exhausting hours each day, he forced his brain to recruit cells, build new connections, find the right sounds to go with words, and piece together whole sentences. Going over the text the next day helped refine his thoughts and showed him some of aphasia’s fingerprints in the prose.
Now, three years later, he has just finished writing his first novel since the stroke, one with Westian characters and themes. During a three-hour window of heightened fluency in the middle of the day, he can write in longhand, make phone calls, lunch with friends. He has reloomed vibrant carpets of vocabulary, and happily, despite the left hemisphere stroke, he seems happier than before, and I think his life feels richer in a score of ways.
What follows is an excerpt from The Shadow Factory, the aphasic memoir Paul dictated with such struggle and resolve, “forcing language back on itself.” In it, he recalls life in the hospital’s rehab unit, what he felt and thought, and explores some of the all-too-real tricks the mind plays to save itself from the tomb of lost words.
— DIANE ACKERMAN
FLEET
The difference between my own refracted gaze of the world and Diane’s is that she sees the world in all its detail, squirming into the needlepoint alleyways that leopards reject, and mine is to look on the offered scene as a species of broadcloth identified mainly through its ribbons and Tam-o’-Shanters. This sharing the load usually means that between us we cover the waterfront, missing a few mouse holes and locked jaws here and there, but getting the plurality right.
It may not happen that the skills of either of us would often be brought into play, cutting us off in different ways from the charming scene about us, but when you are dealing with something that neither of us has ever seen before, not in bulk, anyway, the situation is profoundly different and likely to fall off the universe for not trying hard enough.
One way of trying extra hard is to imagine one dimension of the universe coated in either black velvet or a blue that no one has reported outside the province of Baffinland. This same needling eye one imagines as bringing reports of blancmange, mince pies, jam tarts, cream pies, chocolate éclairs, Odwalla bars, chocolate chip cookies, ice cream, and all manner of other delicacies to the invalid’s bed.
However you spell the word invalid, you are either invalid because not valid, or invalided out. Or you disentangle the least bit of wiry fluff that has been haunting your tongue for half an hour, and assign it to the unwilling project of the human mess. These rank as contributions in some way or other, but the assorted confectioneries are too massive to eat, and the strand of henpecked fluff is too narrow, which makes them both second-rate substitutes and sees them out. What I’m trying to say, in language ever more oblique, is that the human psyche can sometimes see evidence of what is not present to the senses.
— PAUL WEST
Continues at
https://theamericanscholar.org/mem-mem-mem/
