Will Self: The Quantity Theory of Insanity: Reissued

Behind him light and then shadow moved across the face of the hospital at a jerky, unnatural speed. The clouds were whipping away overhead, out of sight. All I could see was their reflection on the hospital’s rough, grey, barnacle-pitted skin.

The hospital was big. Truly big. With its winking lights, belching vents and tangled antennae, it slid away beneath the cloudscape. Its bulk was such that it suggested to the viewer the possibility of spaceships (or hospitals) larger still, which might engulf it, whole, through some docking port. The hospital was like this. I couldn’t judge whether the rectangles I saw outlined on the protruding corner opposite Dr Busner’s office were glass bricks or windows two storeys high. The street lay too far below to give me a sense of scale. I was left just with the hospital and the scudding shadows of the racing clouds.

Busner had given up his tie-rolling and taken up with an ashtray on his desk. This was crudely fashioned out of a spiralled snake of clay, varnished and painted with a bilious yellow glaze. Busner ran his fleshy digit around and around the rim as he said, ‘I’d like you to stick close to me this morning, Misha. If you are to have any real impact on what we’re trying to do here you need to be properly acquainted with the whole process of the ward: how we assess patients, how we book them in, how we decide on treatment. If you shadow me this morning, you can then get to know some of the patients informally this afternoon.’

‘That sounds OK.’

‘We’ve also got a ward meeting at noon which will give you an opportunity to get to know all your fellow workers and appreciate how they fit into the scheme of things.’

Busner set down the turd of clay on his desk with a clack and stood up. I stepped back to allow him to get round the desk and to the door. Despite being the senior consultant in the psychiatric department, Busner had about as much office space as a postroom boy. I followed him back down the short corridor to the association area. By now the sun had risen up behind the clouds and the bank of windows on the far side of the dining area shone brightly. Silhouetted against them was a slow line of patients, shuffling towards the nurses’ station where they were picking up their morning medication.

The patients were like piles of empty clothes, held upright by some static charge. Behind the double sliding panes of glass which fronted the nurses’ station sat two young people. One consulted a chart, the other selected pills and capsules from compartments in a moulded plastic tray. They then handed these over to the patient at the head of the queue, together with a paper beaker of water, which had a pointed base, rendering it unputdownable, like a best seller.

‘Not ideal, but necessary.’ Busner cupped his right hand as if to encapsulate the queue. ‘We have to give medication. Why? Because without it we couldn’t calm down our patients enough to actually talk to them and find out what the matter is. However, once we’ve medicated them they’re often too displaced to be able to tell us anything useful. Catch-22.’

Busner cut through the queue to the dining area, muttering a few good mornings as he gently pushed aside his flock. We sat down at a table where a young woman in a frayed white coat was sipping a muddy Nescafe. Busner introduced us.

‘Jane, this is Misha Gurney, Misha, Jane Bowen — Jane is the senior registrar here. Misha is joining us to manage art therapy — quite a coup, I think. His father, you know, was a friend of mine, a close contemporary.’

Jane Bowen extended her hand with an overarm gesture that told me she couldn’t have cared less about me, or my antecedents, but because she thought of herself as an essentially open-minded and kind person she was going to show me a welcoming smile. I clasped her hand briefly and looked at her. She was slight, with one of those bodies that seemed to be all concavities — her cheeks were hollowed, her eyes scooped, her neck centrally cratered. Under her loose coat I sensed her body as an absence, her breasts as inversions. Her hair was tied back in one long plait, held by an ethnic leather clasp. Her top lip quested towards her styrofoam beaker. The unrolled, frayed ends of her stretchy pullover protruded beyond the frayed cuffs of her cotton coat. Her pockets were stuffed full. They overflowed with pens, thermometers, syringes, watches, stethoscopes, packets of tobacco and boxes of matches. The lapels of the coat were festooned with name badges, homemade badges, political badges and badges of cutout cartoon characters: Roadrunner, Tweetypie, Bugs Bunny and Scooby Doo.

‘Well, Misha, any ideas on how your participation in the ward’s creative life will help to break the mould?’ She gestured towards an adjacent table, where several misshapen clay vessels leant against one another like drunken Rotarians.

‘Well, if the patients want to make clay ashtrays, let them make clay ashtrays.’ I lit a cigarette and squinted at her through the smoke.

‘Of course they could always try and solve The Riddle.’

I hadn’t noticed as I sat down, but now I saw that she was shifting the four pieces of a portable version of The Riddle around on the melamine surface in front of her. Her fingers were bitten to the quick and beyond. Busner flushed and shifted uneasily in his chair.

‘Erumph! Well… bankrupt stock and all that. We have rather a lot of The Riddle sets around the ward. I err … bought them up for a pittance, you know. At any rate, I still have some faith in them and the patients seem to like them.’

Busner had been responsible for designing, or ‘posing’, The Riddle in the early Seventies. It was one of those pop psychological devices that had had a brief vogue. Busner himself had been forging a modest career as a kind of media psychologist with a neat line in attacking the mores of conventional society. The Riddle tied in with this and with the work that Busner was doing at his revolutionary Concept House in Willesden. His involvement with the early development of the Quantity Theory also dated from that period.

Busner was a frequent trespasser on the telly screens of my childhood. Always interviewing, being interviewed, discussing an interview that had just been re-screened, or appearing in those discussion programmes where paunchy people sat on uncomfortable steel rack-type chairs in front of a woven backdrop. Busner’s media activities had dropped away as he grew paunchier. He was now remembered, if at all, as the poser of The Riddle — and that chiefly because the short-lived popularity of this ‘enquire-within tool’ had spawned millions of square acrylic slabs of just the right size to get lost and turn up in idiosyncratic places around the house, along with spillikins, Lego blocks and hairpins. In fact it had become something of a catch-phrase to cry as you dug a tile out from between the carpet and the underlay, or from behind a radiator, ‘I’m solving The Riddle!’ Eventually The Riddle itself — what you were actually meant to do with the four square slabs in bright pastel shades, which you got with The Riddle set — was entirely forgotten.

‘I’m sorry Zack, I didn’t mean to sound caustic.’ Jane Bowen placed a surprisingly tender hand on Busner’s poplin sleeve.

‘That’s all right, I think I still deserve it, even after all these years. The funny thing is that I did believe in The Riddle. I suppose a cynic would say that anyone would believe in something that brought in enough income to buy a four-bedroom house in Redington Road.’

‘Even shrinks have to have somewhere to live,’ said Jane Bowen. The two of them smiled wryly over this comment — a little more wryly than it strictly merited.

‘Well, we’re not helping anybody sitting here, are we?’ said Busner. Once again this was a key motif. It had been his catchphrase on all those discussion and interview programmes — always delivered with falsetto emphasis on the ‘helping’. The catch-phrase, like The Riddle, outlived Busner’s own popularity. I remember seeing him towards the very end of his TV sojourn, when he was reduced to going on one of those ‘celebrity’ gameshows where the celebrities sit in a rack of cubicles. Zack trotted out his obligatory line and the contestant dutifully pushed the button on the tape machine — as I recall, she ended up winning a suite of patio furniture. It was really quite a long way from the spirit of radical psychology. Now Busner was using the phrase again, clearly with a sense of irony — but somehow not altogether; there was also something else there, a strange kind of pride almost.