Shutter Island

These chapters introduce readers to some of the residents of Ashecliffe, and Lehane uses these characters to explore the onset and manifestation of mental illness. For example, Lehane uses Peter Breene to discuss the fragility of the human mind. During his interview with Teddy and Chuck, Breene says the mind is “‘just like a car. No different. One gear slips, one bolt cracks, and the whole system goes haywire’” (109). But unlike a car, which one can take to a mechanic to fix, the brain is much more complex. Even when a doctor can diagnose a mental condition, there is no guarantee that the doctor can cure it. As Breene says, the brain has “‘all these pieces’” and modern medicine does not “‘know what half of them do’” (109). Because the mind is both delicate and poorly understood, Lehane argues that no one is immune from mental illness.

Breene, like many of Ashecliffe’s other psychiatric patients, does not realize he is mentally ill. Peter has been committed to Ashecliffe because he attacked and critically injured his father’s nurse, but he “remains in denial over his responsibility for the act” (108). Breene seems to have some cognizance that his fears influence his behavior. Unfortunately, his understanding stops there; not only does he deny his own violent actions, he refutes any connection he might have with the other residents of Ashecliffe. Readers see this in Peter’s visceral reaction to Teddy’s inquiries about Rachel. Although they are both violent offenders in the same psychiatric hospital, Breene vilifies Rachel’s delusions as well as her actions. “‘She killed her kids,’” he tells Teddy and Chuck, “‘You believe that? What kind of person does that sort of thing? Sick fucking people in this world, sirs, if you don’t mind me mentioning,’” (111). His language in the last sentence is exclusive; he does not consider himself one of the “sick fucking people” who commits violent crimes. And yet, readers know that Breene’s attack on his father’s nurse has left the woman permanently scarred. While Breene might deny any similarities with Rachel Solando, their illnesses are very similar—neither can cope with their respective actions, and their delusions are designed to protect themselves from the truth.

Breene’s story is just one example of a descent into madness: Lehane uses Bridget Kearns and George Noyce to offer readers different images of the mentally ill. Unlike Breene, whose mental illness appears to be rooted in his fear of women, Kearns’ mental health issues are the result of an abusive marriage. Unlike Breene, Kearns has a complete understanding of her actions, so much so that she tells Teddy that “‘if a man beats you and fucks half the women he sees and no one will help you, axing him isn’t the least understandable thing you can do’” (114). Kearns’ forthrightness about both her crime and her manic depression initially shocks Teddy, who tells her that she seems normal to him. But Kearns understands that she cannot reintegrate into society. She tells Teddy that she doubts she would “‘go out and kill someone again, but you can never tell’” (114).

Noyce’s story is similar to Kearns’ in that Noyce’s mental illness comes from external factors—namely, a drug trial gone wrong. Teddy explains that Noyce was a normal, slightly angry college student who agreed to be part of a paid psychological trial. One year later, Noyce—who was once “‘normal as pecan pie’”—is now a full-fledged schizophrenic who has been transferred to Ashecliffe after attacking a professor (153). For both Kearns and Noyce, mental illness is the result of outside forces that cause, as Breene puts it, the “system to go haywire.”

Lehane’s inclusion of characters like Breene, Kearns, and Noyce add depth and texture to Shutter Island. The tension in this part of the book hinges on danger, and Lehane uses these characters to remind readers that the patients in Ashecliffe Hospital constantly teeter on the edge of sanity, if not the edge of violence. (It is worth noting here that Lehane’s portrayal of mental illness relies on the stereotype that mentally-ill people are dangerous: according to research from the National Alliance of Mental Illness, most people who suffer from psychological disorders are non-violent.) Furthermore, Breene, Kearns, and Noyce become mentally ill as adults. By showing readers how easily people can be pushed over the edge—whether through fear, trauma, or dug use—Lehane argues that sanity is never guaranteed.