James Mitchell was in the same position. The CIA had reason to believe that Al Qaeda was planning a second round of attacks after 9/11, possibly involving nuclear weapons. He had to get KSM to talk. But the harder he worked to get KSM to talk, the more he compromised the quality of their communication. He could deprive KSM of sleep for a week, at the end of which KSM was confessing to every crime under the sun. But did KSM really want to blow up the Panama Canal?
Whatever it is we are trying to find out about the strangers in our midst is not robust. The “truth” about Amanda Knox or Jerry Sandusky or KSM is not some hard and shiny object that can be extracted if only we dig deep enough and look hard enough. The thing we want to learn about a stranger is fragile. If we tread carelessly, it will crumple under our feet. And from that follows a second cautionary note: we need to accept that the search to understand a stranger has real limits. We will never know the whole truth. We have to be satisfied with something short of that. The right way to talk to strangers is with caution and humility. How many of the crises and controversies I have described would have been prevented had we taken those lessons to heart?
We are now close to returning to the events of that day in Prairie View, Texas, when Brian Encinia pulled over Sandra Bland. But before we do, we have one last thing to consider—the strangely overlooked phenomenon of coupling.
1 There was plenty of experience with waterboarding at the Navy SERE school, however. There, the training philosophy was a little different. “The Navy’s view was that people go into that situation expecting that they can hold out, that they can be cocky. When that happens to you [not holding out], you’re devastated and you don’t bounce back,” Mitchell said. “So, part of what they try to do in the Navy school is show people that you really will capitulate at some point. But your job as an American soldier is to resist to the best of your ability.” The Navy wanted to show their trainees how bad things could get. The Air Force felt their trainees were better off not knowing that.
2 In another, larger study, Morgan found that 77 out of 114 soldiers falsely identified their interrogators in a photo lineup—and this was 24 hours after interrogation! When these soldiers were asked how confident they were in their responses, there was no relationship between confidence and accuracy.
Part Five
Coupling
Chapter Ten
Sylvia Plath
1.
In the fall of 1962, the American poet Sylvia Plath left her cottage in the English countryside for London. She needed a fresh start. Her husband, Ted Hughes, had abandoned her for another woman, leaving her alone with their two small children. She found an apartment in London’s Primrose Hill neighborhood—the top two floors of a townhouse. “I am writing from London, so happy I can hardly speak,” she told her mother. “And guess what, it is W.B. Yeats’ house. With a blue plaque over the door saying he lived there!”
At Primrose Hill she would write in the early-morning hours while her children slept. Her productivity was extraordinary. In December she finished a poetry collection, and her publisher told her it should win the Pulitzer Prize. She was on her way to becoming one of the most celebrated young poets in the world—a reputation that would only grow in the coming years.
But in late December, a deadly cold settled on England. It was one of the most bitter winters in 300 years. The snow began falling and would not stop. People skated on the Thames. Water pipes froze solid. There were power outages and labor strikes. Plath had struggled with depression all her life, and the darkness returned. Her friend, literary critic Alfred Alvarez, came to see her on Christmas Eve. “She seemed different,” he remembered in his memoir The Savage God:
Her hair, which she usually wore in a tight, school-mistressy bun, was loose. It hung straight to her waist like a tent, giving her pale face and gaunt figure a curiously desolate, rapt air, like a priestess emptied out by the rites of her cult. When she walked in front of me down the hall passage…her hair gave off a strong smell, sharp as an animal’s.
Her apartment was spare and cold, barely furnished and with little in the way of Christmas decorations for her children. “For the unhappy,” Alvarez wrote, “Christmas is always a bad time: the terrible false jollity that comes at you from every side, braying about goodwill and peace and family fun, makes loneliness and depression particularly hard to bear. I had never seen her so strained.”
They each had a glass of wine, and following their habit she read to him her latest poems. They were dark. The new year came and the weather grew even worse. Plath feuded with her ex-husband. She fired her au pair. She gathered her children and went to stay at the house of Jillian and Gerry Becker, who lived nearby. “I feel terrible,” she said. She took some antidepressants, fell asleep, then woke up in tears. That was a Thursday. On Friday she wrote her ex-husband, Ted Hughes, what he would later call a “farewell note.” On Sunday she insisted that Gerry Becker drive her and her children back to their apartment. He left her in the early evening, after she had put her children to bed. At some point over the next few hours, she left some food and water for her children in their room and opened their bedroom window. She wrote out the name of her doctor, with a telephone number, and stuck it to the baby carriage in the hallway. Then she took towels, dishcloths, and tape and sealed the kitchen door. She turned on the gas in her kitchen stove, placed her head inside the oven, and took her own life.
2.
Poets die young. That is not just a cliché. The life expectancy of poets, as a group, trails playwrights, novelists, and nonfiction writers by a considerable margin. They have higher rates of “emotional disorders” than actors, musicians, composers, and novelists. And of every occupational category, poets have far and away the highest suicide rates—as much as five times higher than the general population. Something about writing poetry appears either to attract the wounded or to open new wounds—and few have so perfectly embodied that image of the doomed genius as Sylvia Plath.1
Plath was obsessed with suicide. She wrote about it, thought about it. “She talked about suicide in much the same tone as she talked about any other risky, testing activity: urgently, even fiercely, but altogether without self-pity,” Alvarez wrote. “She seemed to view death as a physical challenge she had, once again, overcome. It was an experience of much the same quality as…careering down a dangerous snow slope without properly knowing how to ski.”
She fulfilled every criterion of elevated suicide risk. She had tried it before. She was a former mental patient. She was an American living in a foreign culture—dislocated from family and friends. She was from a broken home. She’d just been rejected by a man she idolized.2
On the night of her death, Plath left her coat and her keys behind at the Beckers’. In her book on Plath (everyone who knew Plath, even tangentially, has written at least one book about her), Jillian Becker interprets that as a sign of the finality of Plath’s decision:
Had she supposed that Gerry or I would come after her during the night with her coat and keys? No. She had not expected or wanted to be saved at the last moment from self-inflicted death.