One Flew Over the Cuckoo’s Nest Freedom and Confinement

I hide in the mop closet and listen, my heart beating in the dark, and I try to keep from getting scared, try to get my thoughts off someplace else—try to think back and remember things about the village and the big Columbia River, think about one time Papa and me were hunting birds in a stand of cedar trees near The Dalles. [...] But like always when I try to place my thoughts in the past and hide there, the fear close at hand seeps in through the memory. I can feel that least black boy out there coming up the hall, smelling out for my fear. He opens out his nostrils like black funnels, his outsized head bobbing this way and that as he sniffs, and he sucks in fear from all over the ward. He's smelling me now, I can hear him snort. He don't know where I'm hid, but he's smelling and he's hunting around. I try to keep still. [...]

(Papa tells me to keep still, tells me that the dog senses a bird somewheres right close. We borrowed a pointer dog from a man in The Dalles. All the village dogs are no-'count mongrels, Papa says, fish-gut eaters and no class a-tall; this here dog, he got insteek! I don't say anything, but I already see the bird up in a scrub cedar, hunched in a gray knot of feathers. Dog running in circles underneath, too much smell around for him to point for sure. The bird safe as long as he keeps still. He's holding out pretty good, but the dog keeps sniffing and circling, louder and loser. Then the bird breaks, feathers springing, jumps out of the cedar into the birdshot from Papa's gun.)

The least black boy and one of the bigger ones catch me before I get ten steps out of the mop closet, and drag me back to the shaving room. I don't fight or make any noise. If you yell it's just tougher on you. I hold back the yelling. I hold back till they get to my temples. I'm not sure it's one of those substitute machines and not a shaver till it gets to my temples; then I can't hold back. It's not a will-power thing any more when they get to my temples. It's a [...] button, pushed, says Air Raid Air Raid, turns me on so loud it's like no sound, everybody yelling at me, hands over their ears from behind a glass wall, faces working around in talk circles but no sound from the mouths. My sound soaks up all other sound. (1.121-23)

This morning I plain don't remember. They got enough of those things they call pills down me so I don't know a thing till I hear the ward door open. (1.2.2)

When the fog clears to where I can see, I'm sitting in the day room. They didn't take me to the Shock Shop this time. I remember they took me out of the shaving room and locked me in Seclusion. I don't remember if I got breakfast or not. Probably not. I can call to mind some mornings locked in Seclusion the black boys keep bringing seconds of everything—supposed to be for me, but they eat it instead—till all three of them get breakfast while I lie there on that pee-stinking mattress, watching them wipe up egg with toast. I can smell the grease and hear them chew the toast. Other mornings they bring me cold mush and force me to eat it without it even being salted. (1.2.1)

I've heard that theory of the Therapeutic Community enough times to repeat it forwards and backwards—how a guy has to learn to get along in a group before he'll be able to function in a normal society; how the group can help the guy by showing him where he's out of place; how society is what decides who's sane and who isn't, so you got to measure up. All that stuff. Every time we get a new patient on the ward the doctor goes into the theory with both feet; it's pretty near the only time he takes things over and runs the meeting. He tells how the goal of the Therapeutic Community is a democratic ward, run completely by the patients and their votes, working toward making worth-while citizens to turn back Outside onto the street. Any little gripe, any grievance, anything you want changed, he says, should be brought up before the group and discussed instead of letting it fester inside of you. Also you should feel at ease in your surroundings to the extent you can freely discuss emotional problems in front of patients and staff. Talk, he says, discuss, confess. And if you hear a friend say something during the course of your everyday conversation, then list it in the log book for the staff to see. It's not, as the movies call it, "squealing," it's helping your fellow. Bring these old sins into the open where they can be washed by the sight of all. And participate in Group Discussion. Help yourself and your friends probe into the secrets of the subconscious. There should be no need for secrets among friends.

Our intention, he usually ends by saying, is to make this as much like your own democratic, free neighborhoods as possible—a little world Inside that is a made-to-scale prototype of the big world Outside that you will one day be taking your place in again. (1.5.72-73)

"You have more to lose than I do," Harding says again. "I'm voluntary. I'm not committed."

McMurphy doesn't say a word. He's got that same puzzled look on his face like there's something isn't right, something he can't put his finger on. He just sits there looking at Harding, and Harding's rearing smile fades and he goes to fidgeting around from McMurphy staring at him so funny. He swallows and says, "As a matter of fact, there are only a few men on the ward who are committed. Only Scanlon and—well, I guess some of the Chronics. And you. Not many commitments in the whole hospital. No, not many at all."

Then he stops, his voice dribbling away under McMurphy's eyes. After a bit of silence McMurphy says softly, "Are you bulls***ting me?" Harding shakes his head. He looks frightened. McMurphy stands up in the hall and says, "Are you guys bulls***ting me!" Nobody'll say anything. McMurphy walks up and down in front of that bench, running his hand around in that thick hair. He walks all the way to the back of the line, then all the way to the front, to the X-ray machine. It hisses and spits at him. "You, Billy—you must be committed, for Christsakes!"

[…]

"Sefelt, what about you? There's nothing wrong with you but you have fits. Hell, I had an uncle who threw conniptions twice as bad as yours and saw visions from the Devil to boot, but he didn't lock himself in the nuthouse. You could get along outside if you had the guts—"

"Sure!" It's Billy, turned from the screen, his face boiling tears. "Sure!" he screams again. "If we had the g-guts! I could go outside to-today, if I had the guts. My m-m-mother is a good friend of M-Miss Ratched, and I could get an AMA signed this afternoon, if I had the guts!" (2.7.54-65)

The big, hard body had a tough grip on life. It fought a long time against having it taken away, flailing and thrashing around so much I finally had to lie full length on top of it and scissor the kicking legs with mine while I mashed the pillow into the face. I lay there on top of the body for what seemed days. Until the thrashing stopped. Until it was still a while and had shuddered once and was still again. Then I rolled off. I lifted the pillow, and in the moonlight I saw the expression hadn't changed from the blank, dead-end look the least bit, even under suffocation. I took my thumbs and pushed the lids down and held them till they stayed. Then I lay back on my bed. (4.4.99)

The moon straining through the screen of the tub-room windows showed the hunched, heavy shape of the control panel, glinted off the chrome fixtures and glass gauges so cold I could almost hear the click of it striking. I took a deep breath and bent over and took the levers. I heaved my legs under me and felt the grind of weight at my feet. I heaved again and heard the wires and connections tearing out of the floor. I lurched it up to my knees and was able, to get an arm around it and my other hand under it. The chrome was cold against my neck and the side of my head. I put my back toward the screen, then spun and let the momentum carry the panel through the Screen and window with a ripping crash. The glass splashed out in the moon, like a bright cold water baptizing the sleeping earth. Panting, I thought for a second about going back and getting Scanlon and some of the others, but then I heard the running squeak of the black boys' shoes in the hall and I put my hand on the sill and vaulted after the panel, into the moonlight.

I ran across the grounds in the direction I remembered seeing the dog go, toward the highway. I remember I was taking huge strides as I ran, seeming to step and float a long ways before my next foot struck the earth. I felt like I was flying. Free. Nobody bothers coming after an AWOL, I knew, and Scanlon could handle any questions about the dead man—no need to be running like this. But I didn't stop. I ran for miles before I stopped and walked up the embankment onto the highway. (4.4.111-112)