An epic novel about family secrets and the consequences of ambition
William Friedrich, an ambitious professor of psychology at Yale in 1952, has stumbled upon a drug that promises happiness—and that can make him a famous man. When his experiment goes awry, and a research subject commits murder, the consequences will haunt him and his family forever.
Pharmakon is an epic novel, an invocation of the quest for bliss, for love, for family, and all of the betrayals that follow. We follow the Friedrichs from the well-ordered suburban life of postwar America through the chaos and freedom of the counterculture, into the drug-fueled, media-crazed eighties and beyond. In William Friedrich, Wittenborn has defined the archetypal American patriarch: a miracle worker and source of strength to everyone except those he loves the most. Pharmakon is also a layered, thoughtful search behind the veil of psychopharmacology as we know it today—a tale not only of the consequences of research, but also of the complex personalities, appetites, and struggles that created it.
Honest, insightful, and ruefully funny, Pharmakon captures formative moments of the twentieth century, the quirks of an American family, and will enthrall fans of the novels of John Irving.
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I was born because a man came to kill my father. If he hadn't showed up with a gun in his pocket and bad thoughts in his head, I wouldn't exist, much less have a story to tell. This tragic footnote to my conception left me feeling as if I had three parents: a father, a mother, and a murderer.
My father suffered from strange and temporarily paralyzing attacks of catatonia that my family, with characteristic discretion, referred to as Dad's “Sock Moments.” You would walk past my parents' bedroom door on the way to breakfast or the bathroom and glimpse Dad sitting on his side of the bed, fully dressed, legs crossed, one shoe on, sock in hand, about to put on his other shoe. Perfectly normal, right? Trouble was, sometimes ten or twenty minutes would pass and you'd look in on him again and he'd still be sitting there, sock in hand, staring at the other shoe he'd yet to fill.
Once, my sister Lucy and I clocked him with the timer my mother used to make sure the roast beef was rare. Fifty-seven minutes passed before he got the other sock on. Frozen in time and space in his own thoughts, Dad would appear perfectly normal, except for the look he'd have in his eye. It wasn't a faraway, glassy-eyed stare, it was a perplexed squint, as if he were trying to see something he wasn't sure was there.
My father could have three episodes in a week, then there'd be a six month reprieve. Usually, but not always, these becalmed fits of melancholic introspection would come over him in the morning as he readied himself to set off for work. But sometimes, they'd ambush him in the evening, when he went upstairs just for a moment to put on a fresh shirt or wash his hands or bring my mother her purse. Occasionally, according to my mom, they'd even bushwhack him after midnight, when a dry mouth or a bad dream would wake him and he'd reach for his slippers with the thought of heading downstairs to make himself a cup of tea or a stiff drink. Only he'd never get there. Technically, those weren't sock moments because my mother would wake up and find her husband cradling a slipper. But the question remained the same: what was going on in Dad's head?
Once, when I was eight, and Dad was lost in his bedroom with nothing but a sock to show him the way home, I snuck into the room, tiptoed past him, and slipped into his big closet. He used it as a dressing room. It was the grandest thing about the house we lived in then; it was a long, narrow, wondrous little right-triangle of a room tucked under the stairs to the attic. It had a round window at one end that offered a view of nothing but sky and it smelled of cedar and shoe polish and dust from parts of his life that were none of a small boy's business.
I knew I was trespassing. The closet was Dad's private space, to be entered only at his personal invitation, and explored under his supervision. There were bone-handled pocket knives to be opened and closed, flyrods to be assembled, and a wooden crate that once held a dozen bottles of Chateau Y'quem but now was home to the collection of Indian arrowheads and stone tomahawks he'd found in freshly plowed fields and unearthed in serpentine burial mounds during what passed for boyhood in his hardscrabble, Midwestern youth. But his hospitality had its limits. Even when I was a baby, if I crawled too far back into his closet and tried to open the old steamer-trunk, latched, strapped closed, and too heavy to lift, visiting hour would be over. My father would pull me away from it as if it were radioactive and in the grownup voice he used with doctors who came to our house to talk to him, he'd announce, “Nothing in there pertains to you.”
I remember asking him once, “Then why can't I look in it?”
“I've lost the key,” was what he said, but I didn't believe it. I just figured that's where Dad kept his real treasure and he didn't want anyone to know because he was afraid they'd steal it.
Back when I was invading Dad's private space at age eight I felt guilty on two counts; I was doing what I had been told not to do and worse, I was taking unfair advantage of what seemed to be, until several decades later, my father's only weakness—his sock moments. Whether out of my own innate sense of fairness or fear of the great man, paralyzed on the edge of the bed, I did not go directly to the trunk that loomed so large in my imagination. Instead, I contented myself with taking out the Indian artifacts. A noisy child by nature, prone to talking to myself out loud, I retold the stories he had shared with me about the Indian tribes that lorded over the state of Illinois long before he was born—the Kaskaskia, the Cahokia, and the Peoria tribes, decimated by their brethren, the Iroquois, in the Beaver Wars. But it wasn't the same. I wanted his voice, I wanted him to come back from wherever he was in his Sock Moment, I wanted him to hear me. Anything was preferable to the loneliness I felt knowing he could be so close and yet still so far away.
Suddenly desperate to break the spell that held him, I did the worst thing I could imagine, far more forbidden and dangerous and unforgivable than opening the trunk—I stood up on the overturned wine box, pulled out the squeaky top drawer of his head-high dresser, and took hold of the loaded .38 caliber long-barreled Smith & Wesson revolver he kept on top of his clean handkerchiefs.
He was so far gone even the sound of me opening the forbidden gun drawer did not wake him. Not even the click of me closing the cylinder snapped him out of whatever held him captive. What if Dad never woke up? What if he never came back from the Sock Moment? What if he stayed petrified like that forever?
Missing him, wanting him, needing him, and mad at him, I pulled back the hammer of the big pistol. My hands shook, my finger closed on the trigger. If I fired the gun, he'd have to wake up. No matter how severely I'd be punished, at least he'd be with me. An eighth of an ounce of trigger pressure away from bringing the hammer down on the moment—the thought occurred to me: what if I pulled the trigger and he still didn't wake up?
Then I'd know there was no hope. I lowered the hammer and placed the handgun back onto tomorrow's handkerchief and closed the squeaky drawer.
I went back out into his bedroom and got down on my knees the way you do in church. Taking the argyle sock from his hand, I gently began to pull it onto his long, narrow, white foot.
I watched as my father's eyes focused down on me. They were grey, pearly and wet, like the inside of a shell pulled up from the sea with something alive inside it.
“Daddy?” He had a scar shaped like a crescent on his forehead. His hair was grey and cut so short you could see the shape of his skull and the veins feeding his brain like the Visible Man model he had helped me put together.
“Yes?” He still sounded far away.
“What are you thinking?”
“I was thinking about…” The sock was on now. He was lacing up the shoe by himself. “…how I feel about things.”
No question, my mother would have sent him to a good psychologist if Dad wasn't already a shrink himself, a semi-famous shrink, in fact, Dr. William T. Friedrich. I failed Psych 1A myself, but I'm told if you made it to the second semester, your professor probably mentioned his name. He was what they used to call a neuropsychopharmacologist. If there's brain candy in your medicine cabinet, chances are my father's messed with your head, too.
“What’s best about Pharmakon, beyond the curiosity value of its unusual premise and atmosphere, is Mr. Wittenborn’s colorful, affectionate evocation of a complex family story …a smart, eccentric coming-of-age story.”
—The New York Times
“A smart, pharmaceutical pick-me-up.”
—Seattle Times
“Wittenborn is a smart stylist, equally adept at telling phrase and rich characterization.”
—St. Petersburg Times
“Pharmakon is a Greek word meaning both poison and cure. As the title of Dirk Wittenborn’s novel, the word not only defines the early days of prescribed mood- altering drugs, but also the difficulty of truly understanding the triumphs and tragedies of a family’s story.
The novel is narrated by Zach Friedrich, youngest son of William Friedrich, who, just after World War II, develops a scale of happiness that allows clinicians to rate whether a person is becoming more or less happy (and more or less sane). He goes on to create, with a Yale colleague, something he believes will be a cure for unhappiness, a pill derived from a New Guinea plant. When the trial ends in violence, the project is buried, William gets a job at Rutgers and Zach is born and grows up without knowing the secrets the family left behind.
Despite the heavy subject matter, including murder, mental illness, family secrets and betrayal, Pharmakon is actually quite funny—not surprising, given the author’s short stint on “Saturday Night Live.” Wittenborn is a witty and intelligent storyteller, and his own life story mirrors that of Zach’s: he’s a child born to a psycho-pharmacologist father who had a few disgruntled patients of his own.
Readers will have fun trying to decide which parts of the story are autobiographical (was there really a girl named Sunshine and a gaggle of parrots in the mulberry tree?) and which parts come from the author’s imagination. Either way, this is the kind of book one imagines college professors read on their summer vacations: one that is at once smart, darkly funny, entertaining and informational, told with love and an eye toward the bigger issue of how families endure both the poisons and the curatives of everyday life.”
—Bookpage
“It is 1951, and Will Friedrich, a young, ambitious, untenured Yale psychology professor is searching for a Big Idea, one that “could make the world a saner place.” Tragically, his big idea turns a geeky freshman genius into a murderer, and the specter of the event haunts Will’s family for 50 years. Pharmakon is a family saga that takes Will, his wife, Nora, and their four children through the watershed moments of five turbulent decades of American history. But it is also a great deal more; by turns, a knowing and slightly jaundiced send-up of academia, a guided tour through some of the worst ideas of twentieth-century medicine and psychology, and an insightful portrait of a brilliant, decent, caring (albeit ambitious) man whose best efforts earn the approval of nearly everyone except those most important to him. Pharmakon is a big book in every way except page count. It is filled with vivid, nuanced characters and with ideas, and Wittenborn’s engaging writing recalls Richard Russo.”
-Booklist
“In Pharmakon Dirk Wittenborn has given us a fascinating portrait of a family living on the edge in the barely post-medieval age of 1950’s psycho-pharmacology. Both victims and perpetrators, pioneers and innocents, the saga of the Freidrichs will stay with you long after the book has been read.”
-Richard Price, author of LUSH LIFE
"In Pharmakon, Dirk Wittenborn has given us a haunting illustration of the Tolstoyan maxim that every unhappy family is unique in its unhappiness, though in fact no one who has ever been part of a family can fail to feel pangs of recognition as they follow the saga of the Friedrich family across three tumultuous generations. PHARMAKON is an ambitious and memorable novel."
—Jay McInerney, author of Bright Lights, Big City and Brightness Falls
"Pharmakon is an old-fashioned novel about a modern subject--set in the past but completely relevant to where we are today. It might remind you of mid-period John Irving, but gentler. And just when you've settled into a groove the book takes surprising--sometimes shocking--turns. Beneath all the pain there's hope coursing through these pages, and in the end don't be surprised if you find yourself moved to tears."
—Bret Easton Ellis
"A brilliant portrait of a young family of the 1950s, possessed of the particular qualities of post-war America -- optimism, prosperity and security -- and the inevitable loss of innocence as both country and family encounter the challenges of maturity. Dirk Wittenborn's provocative book is sharply observed; a subtle and wise fable of our time."
--Susanna Moore, author of In The Cut
“Eerie, authentic, and always with heart, Pharmakon is a slow-burning triumph.”
--Marisha Pessl, author of Special Topics in Calamity Physics
“…epically entertaining …”
—Vogue
“A vivid sketch of an unhappy family in the 1950s.”
—Chicago Tribune