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“It could be all unwittingly that I wrote in Darkness Visible what amounted to a Rosetta stone for my other work.”

"A Conversation with William Styron", Humanities (May/June 1997)

“Grieving, yet somehow unbending, steadfast, unafraid, the voice rose through the evening like memory, and a gust of wind blew up from the river, dimming the song, rustling the trees, then died and became still. I’ll lay in de grave and stretch out my arms … Suddenly the voice ceased, and all was quiet.
Then what I done was wrong, Lord? I said. And if what I done was wrong, is there no redemption?
I raised my eyes upward but there was no answer, only the gray impermeable sky and night falling fast over Jerusalem.”

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William Styron buch The Confessions of Nat Turner

Part I : Judgment Day
The Confessions of Nat Turner (1967)

“When I was first aware that I had been laid low by the disease, I felt a need, among other things, to register a strong protest against the word “depression.” Depression, most people know, used to be termed “melancholia,” a word which appears in English as early as the year 1303 and crops up more than once in Chaucer, who in his usage seemed to be aware of its pathological nuances. “Melancholia” would still appear to be a far more apt and evocative word for the blacker forms of the disorder, but it was usurped by a noun with a bland tonality and lacking any magisterial presence, used indifferently to describe an economic decline or a rut in the ground, a true wimp of a word for such a major illness. It may be that the scientist generally held responsible for its currency in modern times, a Johns Hopkins Medical School faculty member justly venerated — the Swiss-born psychiatrist Adolf Meyer — had a tin ear for the finer rhythms of English and therefore was unaware of the semantic damage he had inflicted by offering “depression” as a descriptive noun for such a dreadful and raging disease. Nonetheless, for over seventy-five years the word has slithered innocuously through the language like a slug, leaving little trace of its intrinsic malevolence and preventing, by its very insipidity, a general awareness of the horrible intensity of the disease when out of control.
As one who has suffered from the malady in extremis yet returned to tell the tale, I would lobby for a truly arresting designation. “Brainstorm,” for instance, has unfortunately been preempted to describe, somewhat jocularly, intellectual inspiration. But something along these lines is needed. Told that someone’s mood disorder has evolved into a storm — a veritable howling tempest in the brain, which is indeed what a clinical depression resembles like nothing else — even the uninformed layman might display sympathy rather than the standard reaction that “depression” evokes, something akin to “So what?” or “You’ll pull out of it” or “We all have bad days.””

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William Styron buch Darkness Visible

The phrase “nervous breakdown” seems to be on its way out, certainly deservedly so, owing to its insinuation of a vague spinelessness, but we still seem destined to be saddled with “depression” until a better, sturdier name is created.
Quelle: Darkness Visible (1990), IV

“I discovered that I had, in the past two decades, written a far greater amount in the essay form than I remembered. Certainly I have written enough of it to demonstrate that I harbor no disdain for literary journalism or just plain journalism, under whose sponsorship I have been able to express much that has fascinated me, or alarmed me, or amused me, or otherwise engaged my attention when I was not writing a book.”

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William Styron

"A note to the reader" - This Quiet Dust and Other Writings (1982)

“’Neath cold sand I dreamed of death / but woke at dawn to see / in glory, the bright, the morning star.
This was not judgement day — only morning. Morning: excellent and fair.”

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William Styron buch Sophie's Choice

Last lines
Sophie's Choice (1979)

“’Neath cold sand I dreamed of death / but woke at dawn to see / in glory, the bright, the morning star.”

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William Styron buch Sophie's Choice

Sophie's Choice (1979)