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Heston: My Life with Bipolar: Gripping account of celebrity chef's journey from denial to diagnosis

Heston: My Life with Bipolar: Gripping account of celebrity chef's journey from denial to diagnosis

Irish Times9 hours ago

In the
UK
, it is estimated that some 1.3 million people have
bipolar disorder
– more than have dementia. The statistics are presumably much the same in
Ireland
and yet the condition remains taboo and largely undiscussed. For that reason, it never occurred to celebrity chef Heston Blumenthal that he might have the disorder when he began to experience manic episodes several years ago. While he suspected he was neurodivergent, the word 'bipolar' never crossed his mind.
How little he knew, he says in the gripping and gruelling Heston: My Life with Bipolar (BBC Two, Thursday 8pm) – until the episodes became severe, and in late 2023, he hallucinated that he had a gun. This was in France, where he lives with his wife, the French entrepreneur Melanie Ceysson. 'I was trying to fight my way out of it. Two people held my arms down,' he says. 'I was struggling a lot. Then I saw the doctor pull out this whacking great syringe.'
Eighteen months later, Blumenthal is on a heavy regime of medication that has led to weight gain and resulted in his speech slowing down to a meditative not-quite-slur. He hasn't had any more of the extreme shifts in mood and energy that are a signature of bipolar disorder. And yet there this isn't quite a happy story with a happy ending. One of the themes of this fascinating and admirably honest film is his fear that the drugs that have stabilised his mind may have snuffed out the creativity that drove him in his early career.
As foodies will know, Blumenthal was at the cutting edge of the cutting edge as proprietor of the Fat Duck restaurant in Bray (a village in Berkshire rather than the Irish seaside town, as I was disappointed to discover after many years of assuming Wicklow was at the white-hot frontline of gastronomic innovation). Snail porridge, bacon and egg ice cream – he was the master of the non sequitur menu.
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Blumenthal had long suspected his brain was different. He compares the zing of inspiration to a drizzle of sweets pitter-pattering down on his head. In 2023, the downpour became a deluge, and he was overwhelmed. Looking back, it is obvious he was hurtling towards a crash. However, he had been too blinded by success to recognise the danger signs.
'I ended up becoming a hamster on a wheel. I self-medicated with cocaine. I didn't realise I was self-medicating at the time. I was absolutely self-medicating. I knew I had a busy head. I didn't know if it was more busy than other people's heads,' he says. 'I looked up if I was autistic. I didn't even think about bipolar.'
In one painful scene, he is shown a TV interview he gave shortly before his breakdown. The journalist says hello, and Blumenthal, dialling in over Zoom, embarks on a 10-minute stream-of-consciousness monologue. It's as if every nerve ending in his brain is firing at once, and it's all coming straight out of his mouth. 'I want to put the inside-out back into the outside-in. I want to put the being back into the human,' he says. The interviewer smiles nervously. 'He's asked me one question,' says Blumenthal today. ''How are you? That's it.'
A more self-involved celebrity would make it all about themselves. To his credit, Blumenthal moves on from his own struggles to address the failure of the British health service to meet the needs of those who are bipolar. He calls on the mother of Rebecca McLellan, a paramedic from Ipswich who died by suicide after being denied the medical care she required. In another moving scene, Blumenthal meets his son Jack, who talks about how difficult it was to be around his father. 'We'd plan it three weeks in advance, getting prepared just to see you for half an hour,' says Jack, who now runs his own restaurant. 'And there was nothing I could do to help you.'
Blumenthal's face crumples, and he struggles to hold back tears. 'I'm sorry,' he says. It is one of many hugely emotive sequences in a documentary that bravely traces the chef's journey from denial to diagnosis. Its most significant achievement is that, just a few minutes in, the viewers begins to see Blumenthal not as a famous foodie in fancy spectacles – but a vulnerable individual who desperately needs support.

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Niall Montgomery ‘originated an Irish form of jazz-inspired sound poetry'
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Niall Montgomery ‘originated an Irish form of jazz-inspired sound poetry'

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The seven long poems included in the collection were difficult to find but their quality speaks for itself, though the pieces are complex and perhaps impenetrable for some readers. Some of them are 'ensemble pieces' that speak in many voices. They achieve an unprecedented integration of clashing poetic and demotic registers. Terminal 1: Arrivals, a posthumous collection by Irish poet Niall Montgomery It is also difficult to classify Montgomery's poetry because his poetic career passed through two distinct phases: a period of arrival during the 1930s and early 1940s when his work met with a significant early reception, and a second flowering in the early 1970s after struggling to publish for many years. In the first phase, Montgomery published in important journals and avant-garde magazines, including Contemporary Poetry and Prose , transition , Wales , Ireland To-day and Furioso . In 1970, Michael Smith and Trevor Joyce featured Montgomery's unpublished song-poem, London Transport (1939), in The Lace Curtain , along with two new poems. Smith would go on to publish Montgomery's later poems and essays in five separate issues of that magazine. This late, second-phase recognition revived Montgomery's hope of publishing a book-length collection and was followed by a small flourishing of new, short poems. He called the book project T E R M I N A L but died before it could be published. terminal 1 collects Montgomery's earliest published work for the first time with the other long poems he wrote during the 1930s. Taken from his most prolific period, these poems mark Montgomery's first significant poetic achievement and emphasise his use of the long form. Other posthumous collections are needed. A critical edition of Montgomery's Irish translations would do much to establish his substantial bilingual contribution to Irish poetry. A second volume of his later poetry focusing on his use of shorter forms is already underway. Montgomery was incredible while young. One might dismiss it as precociousness and laugh at how John Milton wanted to be considered a prodigy well into his thirties. You might not think it, but an entire volume on Montgomery's early career is justified. For example, in 1932, at the age of 17, he wrote to Eugene Jolas, editor of the by then well-known transition magazine which was publishing Joyce's Work in Progress as well as other expressionist, post-expressionist, Surrealist and Dada artists. Taking a cue from Joyce and what would become Finnegans Wake (1939), Jolas focused transition on experimental writing and provided an important forum for the international avant-garde. Montgomery's letter is best described as ardent fan mail, full of strange Latin-English wordplay. In his implied praise for transition , Montgomery clearly echoes Jolas's so-called 'interlinguistic experiments' and the magazine's announcement in 1932 that 'Poetry is vertical'. montgomery; 132 Rock Road Booterstown Dublin ; transeunti eugene jolas viaticum igitor rejoyce 13 mar 2 1 rue de sévigné paris (3e) dURINg an ad liminn brousing with some HORIZontal lenten PASTords i determined and REALised. ENclosed my camera PANS v e r t i c a l l y from the wreason of tsalty TSELIOT and EVEn contraeonceivARLY PAULtergeist vulAIRY I HAVE SICKERED ON THE SUBLIMINAL ETHOS orphically ad limina cheaply ex cathedra MANtically YoUrS Niall O'lstat Montgomery He had already made a name for himself as a poet by the summer of 1934, when under the name Andrew Belis, Beckett mentioned him in Recent Irish Poetry—an acerbic review for Bookman magazine—alongside several Irish poets who the author categorized as either outmoded revivalists or 'aware' artists. Beckett ironically claimed to know 'nothing' of the poetry of Niall Sheridan, Donagh MacDonagh or Irene Haugh but the mere mention of the names ambiguously sets them apart from the poets Beckett attacks in the review. Knowing nothing almost becomes a compliment when Beckett adds two words to Montgomery's 'nothing'; he writes, 'of Mr Niall Montgomery's poetry', he knows 'nothing at all'. Beckett and Montgomery's friendship began around this time and lasted for the rest of Montgomery's life. They became the sort of friends who exchange Christmas cards and know one another's family. Of his Dublin friends named in Beckett's review, Niall Sheridan was the most encouraging of Montgomery's poetry. He consoled Montgomery after his collection of translations had been rejected in 1934: sorry to hear that the GÚM refused your poems. Where the hell was the GÚM in 1916, anyway. I'd seriously advise you to publish them yourself. These poems were part of a monumental translation project. Christine O'Neil has documented Montgomery and Devlin's attempt in the early 1930s to translate 'more than 200 pages' of modernist and avant-garde French poetry into Irish, a corpus which, according to Tobias Harris, even 'included work by Tristan Tzara, the Romanian-born poet and performance artist who acted as a bridge between the Paris and Berlin Dada scenes'. Apart from the two translations included in the appendix terminal 1 , none of the Irish material has been published. I can make an even more shocking claim: Montgomery is more of a London poet, vis-à-vis The Waste Land, than a Dublin poet. He spent time in London in the late 1930s for his architectural training. With Montgomery's ensemble pieces from this period, like London Transport and Swing Tides of March This Time Darling, it is important to observe that he is writing as an expatriate rather than as a stay-at-home Dubliner. Sheridan wrote to him in London on January 16th, 1939, 'I'm terribly sorry for you living in that pagan country. Apart from missing you here [in Dublin], it's a terrible fate for anyone.' It is also true that a sense of the city of Dublin is inseparable from Niall Montgomery's name and from all his work. Some readers may first see 'London' and the influence of 'tsalty tseliot' before noticing 'whitewash and gorsecurves' and the distinctive Irishness of Montgomery's imagery. At different times, Montgomery likened his poetry to music ('TRANSPOSE it for me please it's still much too high'). He also deeply admired jazz. In an essay on painting published in 1944, he compared abstract painting and jazz: 'Both are very much of the twenties and thirties, [and] reflect the neuroses of contemporary life. At its best the dominant feature in jazz is improvisation, with the strange, unpredictable line of an instrumental solo against a rhythmic formalised bass; in 'abstract' art this startling flowing line informs the composition.' His understanding of jazz informs how music is employed in 'blinds somewhere draw the blinds' and Swing Tides of March This Time Darling. A bassline underpins rhythmic changes between stanzas in both poems. In one section of 'blinds' Montgomery establishes his analogy between jazz and writing with alto-bovine-absurdity: in the higher brackets however elastically scrolled in an uncountable rococo idiom steely and irrevocable behind the ogham stones seven secret cows in double-breasted dinner-jackets go atavistic on their tender saxophones In Swing Tides of March, big band music becomes a central motif ('trombone-routine of brekekekex-coagulation') and the text ends with a radio announcer signing off. London Transport is arguably Montgomery's most difficult poem. It is an ensemble piece that develops the polyvocal technique of Swing Tides of March in a more definite, and almost prescriptive style. One might say that Montgomery originated an Irish form of jazz-inspired sound poetry distinguished by its polyphony. The seven poems in terminal 1 are the mark of his poetic achievement. Joseph LaBine is a Canadian poet and scholar specialising in modern Celtic literature. TERMINAL 1: Arrivals by Niall Montgomery, edited by Joseph LaBine, is published by Flat Singles Press.

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The Irish Sun

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