In early 1992, upon release of my first published novel, This Way Madness Lies, Fay Weldon, the British novelist and sexual provocateur, wrote: Madness tries to do something very extraordinary: that is to say, make sense of the human condition, define the human experience.
I did not think even way back when that this was extraordinary at all; I thought, and continue to think, that trying to make sense of the human condition is what life, and art, is all about.
But the damn difficulty, the slipperiness of it all, exacerbates.
So I keep watching. And waiting. And once in a while some small clue pops up. Here's one I found just a short time ago. It's a paragraph from a long article about Stevie Wonder and his pregame musical show at this year's Super Bowl.
"The music that changed Stevie's style in the seventies was nothing that you might expect, even though it offers a fair account of how the free-floating weirdness of American life will always escape any attempts to make us like a normal country rather than a furious human-wave assault on the farthest shores of reality."
And I thought it was just me and my prose having a tough time getting a grip.
(the article is called The Blind Man and the Elephant: Stevie Wonder, the Rolling Stones, and thousands of overweight teenagers party in the ruins of Detroit for Super Bowl XL. Harper's 6/06. It's some very funny and insightful shit. By the way, the music that changed Stevie's style was produced on the orginal Moog snytheizer.)