Name Your Symptom — Background and Themes
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The source record for Name Your Symptom — Background and Themes measures this digital text at 8,102 words, 36 min estimated reading time, and 1 detected text section.
The text analysis averages about 14.1 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.
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Price looked off as if at something not particularly interesting, but more interesting than what he was saying. "It drives a needle into my temple and kills me."
The psychiatrist felt cold fury rising in him. The Cures were supposed to save lives, not endanger them.
"What kind of irresponsible idiot could have issued such a device?" he demanded angrily.
"I did," Price said. "I used to be a psychiatrist. I was always good in shop. This is a pretty effective mechanism, if I say so myself. It can't be removed without causing my death and it's indestructible. Impervium-shielded, you see."
Price probably would never get crazed enough for liquor to kill himself, Infield knew. The threat of death would keep him constantly shocked sane. Men hide in the comforts of insanity, but when faced with death, they are often forced back to reality. A man can't move his legs; in a fire, though, he may run. His legs were definitely paralyzed before and may be again, but for one moment he would forget the moral defeat of his life and his withdrawal from life and live an enforced sanity. But sometimes the withdrawal was--or could become--too complete.
Infield looked up self-consciously and noticed that they had crossed two streets from his building and were standing in front of what appeared to be a small, dingy cafe. He followed Price through the screeching screen door.
They seated themselves at a small table with a red-checked cloth. Infield wondered why cheap bars and restaurants always used red-checked cloths. Then he looked closer and discovered the reason. They did a remarkably good job of camouflaging the spots of grease and alcohol.
A fat man who smelled of the grease and alcohol of the tablecloths shuffled up to them with a towel on his arm, staring ahead of him at some point in time rather than space.
Price lit a cigarette with unsteady hands. "Reggie is studying biblical text. Cute gadget. His contact lenses are made up of a lot of layers of polarized glass. Every time he blinks, the amount of polarization changes and a new page appears. His father once told him that if he didn't study his Bible and pray for him, his old dad would die."
The psychiatrist knew the threat on the father's part couldn't create such a fixation by itself. His eyebrows faintly inquired.
Price nodded jerkily. "Twenty years ago, at least."
"What'll you have, Georgie?" Reggie asked.
The young man snubbed out his cigarette viciously. "Bourbon. Straight."
Reggie smiled--a toothy, vacant, comedy-relief smile. "Fine. The Good Book says a little wine is good for a man, or something like that. I don't remember exactly."
Of course he didn't, Infield knew. Why should he? It was useless to learn his Bible lessons to save his father, because it was obvious his father was dead. He would never succeed because there was no reason to succeed. But he had to try, didn't he, for his father's sake? He didn't hate his father for making him study. He didn't want him to die. He had to prove that.
Infield sighed. At least this device kept the man on his feet, doing some kind of useful work instead of rotting in a padded cell with a probably imaginary Bible. A man could cut his wrists with the edge of a sheet of paper if he tried long enough, so of course the Bible would be imaginary.
"But, Georgie," the waiter complained, "you know you won't drink it. You ask me to bring you drinks and then you just look at them. Boy, do you look funny when you're looking at drinks. Honest, Georgie, I want to laugh when I think of the way you look at a glass with a drink in it." He did laugh.
Price fumbled with the cigarette stub in the black iron ashtray, examining it with the skill of scientific observation. "Mr. Infield is buying me the drink and that makes it different."
Reggie went away. Price kept dissecting the tobacco and paper. Infield cleared his throat and again reminded himself against such obvious affectations. "You were telling me about some organization of the Cured," he said as a reminder.
Price looked up, no longer interested in the relic of a cigarette. He was suddenly intensely interested and intensely observant of the rest of the cafe. "Was I? I was? Well, suppose you tell me something. What do you really think of the Incompletes?"
The psychiatrist felt his face frown. "Who?"
"I forgot. You haven't been one of us long. The Incompletes is a truer name for the so-called Normals. Have you ever thought of just how dangerous these people are, Mr. Infield?"
Jim Harmon's 1956 story opens with psychiatrist Henry Infield fitting himself with a lightning-rod device—a 'Cure' for fear of storms—while his partner Clyde Morgan argues that crossing the line from doctor to patient undermines their profession. The tale immediately establishes a world where mental health treatments are tangible, wearable gadgets: gyro balls for claustrophobia, safety belts for acrophobia, and circlet-and-rod assemblies for weather phobias. Harmon structures the narrative around a series of confrontations—Infield versus Morgan, then Infield versus a group of 'Cured' patrons in a bar—each testing whether these mechanical remedies truly heal or merely suppress.
The Architecture of the Cure
Harmon builds his speculative world through concrete, mechanical details. The 'Cure' for fear of lightning is a circlet with a foot-long rod, wires running down the spine to a metal strap that drags on the floor. For acrophobia, patients wear a 'safety belt' that shoots out adhesive lines to anchor them. Claustrophobes receive a 'gyro ball'—two intersecting hoops of steel-impervium alloy. These devices are not metaphors; they are literal, clunky apparatuses that shape how characters move and interact. The story's opening pages linger on the practical drawbacks: Infield worries about wet shoes conducting electricity; Morgan notes that standing on a metal plate would bypass the rod entirely. This attention to the physics of each Cure grounds the speculative premise in a tactile, almost engineering-focused reality.
Recurring Images of Restraint and Release
Two images recur throughout the excerpts: the loop and the fall. The gyro ball's twin circles, the safety belt's lines, and the lightning rod's wire all evoke containment. Characters are literally bound—by straps, by lines, by the Code that forbids making others fall. The bar scene escalates this motif: Davies triggers his belt to drag Price down, then loops lines around Price's head and feet. Infield later grabs Davies by the belt and lifts him off the floor. Falling is both a physical event and a social weapon. The 'Code'—a set of rules among the Cured—prohibits causing falls, yet Davies breaks it deliberately. Harmon uses these repeated actions to suggest that the Cures, designed to prevent fear, instead create new forms of aggression and dependency.
Movement Between Clinical and Public Spaces
The story shifts between two sharply contrasting settings: the psychiatrists' office and a bar populated by Cured patients. The office is described with a desk, a chair, a window looking onto 'brassy sunlight'—a space of professional distance. The bar is crowded, noisy, with a 'vacant-eyed' waiter named Reggie and patrons who coo at dolls or threaten murder. Infield moves from one to the other, crossing the physical threshold that Morgan warned about. The bar scene is where the story's central test occurs: Infield removes his own Cure and challenges Price to do the same. Harmon uses the change of setting to force abstract arguments into concrete action. The office debates about 'treating symptoms not the disease' become, in the bar, a direct confrontation with the people who wear those symptoms.
Voice and the Limits of Inference
Because the excerpts are incomplete, the story's resolution remains uncertain. Infield's claim that he can 'show you that someone can discard a Cure' is met with Price's smug grin—a detail that hints at an ironic reversal. The narrative voice is third-person but stays close to Infield's perspective, noting his 'soft blue eyes,' his memory of pride in the first gyro ball, and his physical strength (he can lift Davies off the floor). Harmon uses short, declarative sentences for action ('He dropped the bottle and fell over sideways') and longer, more agitated passages for Infield's internal arguments. The dialogue is blunt and colloquial, with characters speaking in challenges and accusations. Readers should note that the full story may undercut Infield's confidence; the excerpts do not reveal whether his experiment succeeds or backfires.
Readers approaching 'Name Your Symptom' should attend to how Harmon uses physical objects to dramatize psychological states. The Cures are not just plot devices but props that define social rules, power dynamics, and even the story's visual composition. Pay attention to who wears what, how they move, and when they remove their devices. The incomplete text leaves key questions open—whether Infield's gamble pays off, whether the Code can be broken permanently—but the story's strength lies in its concrete, almost mechanical treatment of a speculative idea.
I keep thinking about that old psychiatrist and his lightning rods, how he wondered if strapping on a Cure ever truly heals anything. It reminded me of another quiet record, The Envoy, Her — Reading Notes, where the distance between two people feels just as fragile and uncertain. Both left me with a strange, gentle ache I couldn't quite name.
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