Posts Tagged ‘psychopathology’

All Hulled Out

Psychopathy can be differentiated from other personality disorders on the basis of its characteristic pattern of interpersonal, affective and behavioral symptoms. Interpersonally, psychopaths are grandiose, egocentric, manipulative, dominant, forceful, and cold-hearted. Affectively, they display shallow and labile emotions, are unable to form long-lasting bonds to people, principles, or goals, and are lacking in empathy, anxiety, and genuine guilt and remorse. Behaviorally, psychopaths are impulsive and sensation-seeking, and they readily violate social norms. The most obvious expressions of these predispositions involve criminality, substance abuse, and a failure to fulfill social obligations and responsibilities.

There is this part in my study that I have always dreaded. Drive observation in violent offenders. I have an iron lined stomach for almost anything and everything under the stars but to sit through actuarial data and clinical observation trials on psychopaths with a cultivated taste for abusing children is something you can never entirely be prepared for. This is where you commence with serious doubts about whether this really is the career you want. Because you are promised that it will get progressively vile.

I had first played some of his easiest piano pieces when I was nine; at that time, Sibelius, the so-called Nordic Beethoven, was still alive; Stravinsky, the most celebrated Beetho­venian (insofar as he was a revolutionary) of my grandparents’ generation, composed the Canticum Sacrum that year; Pierre Boulez, one of several important musical revolutionaries of the generation that was then coming into its own, turned 30, and the ink was hardly dry on the score of Le Marteau sans maître, his most influential work. I hadn’t heard of Boulez then, but through my record player I wanted to get to know all of the musicians I had heard of, from Bach and Mozart to Bartók and Stravinsky. I loved Tchai­kovsky’s 1812 Overture, Rimsky-Korsakov’s Scheher­azade, and Leonard Bernstein’s jazzy Fancy Free ballet, which began with four gunshot-like drumbeats, but Beethoven seemed to speak to me more clearly, more directly, than anyone else, and I often thought about him, about his existence.

In 1958, the Colossus speaks to an 11-year-old boy.

A Pun travels through your brain.

Have to get back to Hull and excitatory potentials which, surprisingly, do not excite in the least.


Because he is like so pasty and so Lock Stock and Two Smokey Barrel-y at the same time.