/lit/ - Literature

>>18924973
This is now a vintage art-hoe thread

Most /lit/ personality type, rolling through:

The traits of Fours and Fives tend to reinforce each other. Both are "withdrawn" types: Fours withdraw to protect their feelings; fives, to protect their security. Thus, this subtype is more reclusive and less ambitious than a four with a three wing. Fours with a five wing will be markedly more observant of the environment, particularly of other people. There is an intellectual depth and intensity here not found in the other subtype, but also a corresponding social insecurity. This subtype can be more insightful and original, but also less likely to do concrete work. Note-worthy examples of the four with a five wing include Virginia Woolf, Edgar Allan Poe, Anne Rice, Ingmar Bergman, D. H. Lawrence, Yukio Mishima, J. D. Salinger, Johnny Depp, Bob Dylan, Joni Mitchell, Saul Steinberg, Soren Kierkegaard, Herman Hesse, William Blake, and "Laura Wingfield".

Healthy, gifted individuals of this subtype are probably the most profoundly creative of all the types because they combine intuition with insight, emotional sensitivity with intellectual comprehension, frequently with stunning, even prophetic results. Fours with a five wing burn brighter than Fours with a three wing, but at the risk of burning themselves out faster. They are often drawn to the arts and social sciences, where their insights into the human condition can be explored. Because of the five wing, individuals of this subtype care less about the opinions of others, so they tend to follow their muse where it leads them. Their self-expression is highly personal and can be somewhat idiosyncratic. They tend to create more for themselves than for an audience.

Average persons of this subtype are given not merely to self absorption but to philosophical and religious speculation. Their emotional world is the dominant reality, but with a strong intellectual cast. People of this subtype tend to be loners, more lacking in social connectedness than the other subtype. Thus, their artistic expressions more completely substitute for the person than in fours with a three wing. They often display brilliant flashes of insight but have trouble sustaining their efforts. These people also frequently have an otherworldly, ethereal quality about them; they are extremely independent and unconventional to the point of eccentricity. They also tend to be secretive, intensely preoccupied with their thoughts, and purposely enigmatic in their self expression. Their creative ideas may be somewhat unusual, emphasizing the mysterious, even the surreal. They are very attracted to the exotic and the symbolic and tend to be more unusual than their personal presentation--bohemian or, at least, casual. Members of this subtype care little for communicating with those who cannot understand them. Rather, they are interested in expressing their inner vision, whether sublime or terrifying, bleak or lyrical.

It turns out that James Joyce's daughter, Lucia, was schizophrenic (or schizotypal, or schizophreniform, or schizoaffective).

[Lucia and her father were] “like two people going to the bottom of a river, one falling and the other diving.”
Interview with Carl Jung, Richard Ellmann

I have not yet looked into it in depth, but at a glance it looks as though Carol Loeb Shloss' "Lucia Joyce: To Dance in the Wake" puts forward the argument that Lucia's mental difficulties influenced Joyce's work.

I've been very interested in the intersectionality between schizophrenia, glossolalia, and linguistic creativity for the last few months. Finnegans Wake is an extreme example of the kind of loosely associative, almost anti-semantic brand of linguistic aestheticism that seems to me to be cousin to schizoid rambling and Pentacostal glossolalia.

Thoughts? Reading directions?