The physical shape of Mollies paralyses and contortions fit the pattern of late-nineteenth-century hysteria as well — in particular the phases of "grand hysteria" described by Jean-Martin Charcot, a French physician who became world-famous in the 1870s and 1880s for his studies of hysterics...""The hooplike spasm Mollie experienced sounds uncannily like what Charcot considered the ultimate grand movement, the arc de de cercle (also called arc-en-ciel), in which the patient arched her back, balancing on her heels and the top of her head...""One of his star patients, known to her audiences only as Louise, was a specialist in the arc de cercle — and had a background and hysterical manifestations quite similar to Mollie's. A small-town girl who made her way to Paris in her teens, Louise had had a disrupted childhood, replete with abandonment and sexual abuse.She entered Salpetriere in 1875, where while under Charcot's care she experienced partial paralysis and complete loss of sensation over the right side of her body, as well as a decrease in hearing, smell, taste, and vision. She had frequent violent, dramatic hysterical fits, alternating with hallucinations and trancelike phases during which she would "see" her mother and other people she knew standing before her (this symptom would manifest itself in Mollie). Although critics, at the time and since, have decried the sometime circus atmosphere of Charcot's lectures, and claimed that he, inadvertently or not, trained his patients how to be hysterical, he remains a key figure in understanding nineteenth-century hysteria.
Go up along the eastern side of Lake Michigan, steer northeast when the land bends away at Point Betsie, and you come before long to Sleeping Bear Point–an incredible flat-topped sand dune rising five hundred feet above the level of the lake and going north for two miles or more. It looks out over the dark water and the islands that lie just offshore, and in the late afternoon the sunlight strikes it and the golden sand turns white, with a pink overlay when the light is just so, and little cloud shadows slide along its face, blue-gray as evening sets in. Sleeping Bear looks eternal, although it is not; this lake took its present shape no more than two or three thousand years ago, and Sleeping Bear is slowly drifting off to the east as the wind shifts its grains of sand, swirling them up one side and dropping them on the other; in a few centuries it will be very different, if indeed it is there at all. Yet if this is a reminder that this part of the earth is still being remodeled it is also a hint that the spirit back of the remodeling may be worth knowing. In the way this shining dune looks west toward the storms and the sunsets there is a profound serenity, an unworried affirmation that comes from seeing beyond time and mischance. A woman I know says that to look at the Sleeping Bear late in the day is to feel the same emotion that comes when you listen to Beethoven’s Emperor Concerto, and she is entirely right. The message is the same. The only trouble is that you have to compose a planet, or great music, to say it persuasively. Maybe man–some men, anyway–was made in the image of God, after all.