By Patrick McGrath
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Extra resources for Asylum
Every morning that summer several parties of parole patients, each under the supervision of an attendant, and all dressed in baggy yellow corduroy trousers and blue shirts, with white canvas jackets slung over their shoulders, emerged from the Main Gate to maintain the grounds of the estate. Edgar was one of the group assigned to the deputy superintendent’s garden. Stella often saw him when she went out to pick vegetables or flowers, and if there was no sign of the attendant, a senior man called John Archer, she would sit for a few minutes and they would talk.
He was at his workbench. There was a long pause. ” he said at last. She was sitting on the bench in the shade of the wall. She was wearing her straw hat and sunglasses. She lifted her head and nodded. He seemed to sway slightly, and then turned back to his work. “Archer,” he murmured. She had a basket with her and had tossed some flowers into it. She stood up and set off back down the path toward the house. John Archer came toward her, his boots crunching on the gravel. She made a conscious effort to behave naturally.
This was the sculptor Edgar Stark. Edgar was one of mine. I have always been fascinated by the artistic personality, I think because the creative impulse is so vital a quality in psychiatry; certainly it is in my own clinical work. Edgar Stark was already influential in the art world when he came to us, though what we first saw was a confused and very shaky man who shuffled into the hospital like a wounded bear and sat hunched on a bench for hours with his head in his hands. He intrigued me from the start, and once I’d settled him down and got him talking I discovered him to be a forceful individual with an original mind, and I also realized that he was possessed of considerable charm, when he chose to use it.
Asylum by Patrick McGrath