The miracle of melancholia

Rather than quelling her creative spirit, this breakdown did the opposite. Upon being discharged, she returned to the Southwest. There, in 1935, she painted some of her bleakest and most beautiful landscapes: "Purple Hills near Abiquiu" and "Ram's Head, White Hollyhock Hills." Both feature dark things amid the desert's glare -- gloomy shadows and stormy clouds. Into these haunting shades -- hovering amid hard-scrabble rock and a sinister skull -- one stares. One senses something there as silent and sacred as bones.

Joni Mitchell confessed in an interview that she has frequently endured long periods of gloom. But she has not shied away from the darkness. Instead, she sees her sorrow as the "sand that makes the pearl" -- as the terrible friction that produces the lustrous sphere. Given her fruitful struggles with sadness, Mitchell has understandably feared its absence. "Chase away the demons," she has said, "and they will take the angels with them."

Melancholia, far from error or defect, is an almost miraculous invitation to rise above the contented status quo and imagine untapped possibilities. We need sorrow, constant and robust, to make us human, alive, sensitive to the sweet rhythms of growth and decay, death and life.

This of course does not mean that we should simply wallow in gloom, that we should wantonly cultivate depression. I'm not out to romanticize mental illnesses that can end in madness or suicide.

On the contrary, following Keats and those like him, I'm valorizing a fundamental emotion too frequently avoided in the American scene. I'm offering hope to those millions who feel guilty for being downhearted. I'm saying that it's more than all right to descend into introspective gloom. In fact, it is crucial, a call to what might be the best portion of ourselves, those depths where the most lasting truths lie.