Some or all depression derives from political despair, as Cvetkovich rightly situates it —although I would have liked for the book to have carried through on its original promise, to look more closely and critically at the cultural components of depression, at how it really is a public feeling (as opposed to keeping depression, as Cvetkovich mostly does, inside.) Depression can be political, can be a process of breaking through. What others—family members and bosses, in television commercials—see as depression can be in fact the use of one’s own body as a site of refusal to participate and function fully in capitalism, (hetero)normative social behavior, or gendered labor: an ongoing space to cultivate one’s self as a political and sovereign subject by shutting down. Why is Cvetkovich in such a hurry to get over depression?
-Kate Zambreno, “Melancholy and the Infinite Sadness”