My ability to find drunken dysfunction appealing—to fetishize its relationship to genius—was a privilege of having never really suffered. My fascination owed a debt to what Susan Sontag calls the “nihilistic and sentimental idea of ‘the interesting.’” In Illness as Metaphor, Sontag describes the nineteenth-century idea that if you were ill, you were also “more conscious, more complex psychologically.” Illness became an “interior décor of the body,” while health was considered “banal, even vulgar.”
