Anhedonia and It (pp. 692–693)
One kind is low-grade and sometimes gets called anhedonia or simple melancholy. It’s a kind of spiritual torpor in which one loses the ability to feel pleasure or attachment to things formerly important. […] It’s a kind of emotional novocaine, this form of depression, and while it’s not overtly painful its deadness is disconcerting and… well, depressing. Kate Gompert’s always thought of this anhedonic state as a kind of radical abstracting of everything, a hollowing out of stuff that used to have affective content. Terms the undepressed toss around and take for granted as full and fleshy—happiness, joie de vivre, preference, love—are stripped to their skeletons and reduced to abstract ideas. They have, as it were, denotation but not connotation. The anhedonic can still speak about happiness and meaning et al., but she has become incapable of feeling anything in them, of understanding anything about them, of hoping anything about them, or of believing them to exist as anything more than concepts. Everything becomes an outline of the thing. Objects become schemata. The world becomes a map of the world. An anhedonic can navigate, but has no location. I.e. the anhedonic becomes, in the lingo of Boston AA, Unable To Identify.
Context
The narratorial essay that is this whole theme's home scene opens by splitting so-called "depression" into two species, and this is species one: anhedonia, the emotional novocaine, keyed to Kate Gompert and to everyone whose chemicals-for-feelings arrangement has collapsed. It closes on the theme's cartographic anchor — the world becoming a map of the world — and hands the state its Boston-AA name.