What exactly is the delirium to which Laura Restrepo’s Delirio refers? In the first instance, it is the mental collapse suffered by the central character, Agustina Londoño, in the brief period while her husband, a dog-food salesman named Aguilar, is away on a business trip. For on his return she is gone from the house, and turns out to be holed up in a luxury hotel where she had booked in with a strange man who has left her almost catatonic, distraught and unrecognizable. The novel is driven, then, by this initial mystery: what was she doing there and what has caused such a drastic disturbance of her senses? Yet as her husband plunges into this investigation, it is soon revealed that Agustina’s breakdown has deep roots, and Aguilar has to acknowledge how little he really knows of his wife, her past, and her family. For it turns out that her madness is neither a new development nor simply a personal matter. She has always been a little “crazy,” and not only in the chic sense of an upper-class rebel who flits between fashionable obsessions: soft drugs, batik, feng shui. She has gained some minor fame for her supposed psychic powers, claiming to be something of a “seer.” More seriously, she comes from a severely dysfunctional upper-class Colombian family, with a distant and unforgiving father, a mother who will do anything to keep up appearances, a heartless older brother, and a younger one who was beaten and then ostracized for his effeminate tendencies. A generation further back, her immigrant grandfather apparently committed suicide while her great-aunt (his sister) was a full-fledged neurotic who had to be tied up to prevent her from masturbating in public. It’s as though madness runs in her veins. But all this dirty linen is resolutely hidden from view: these secrets are teased out slowly over the course of the book, which comprises a series of revelations each more shocking than the last until the final dénouement, the answer to the initial mystery, turns out to be almost a let-down by comparison.

By contrast, if personal and familial insanities are hidden under a thick façade of shame and hypocrisy, the more general social madness that afflicts the country as a whole is hardly a secret at all. This is Colombia sometime in the 1990s, during the heyday of Pablo Escobar and the FARC, and the effects of narcotraffic and guerrilla insurgency are visible on all sides. The highways are unsafe and the Londoños’ lowland estate has essentially been abandoned to the violence. Not that either the capital (where most of the action is set) or even the home provide much in the way of refuge: halfway through the book a huge bomb, for which Escobar happily claims responsibility, rocks the city; and one of Agustina’s most vivid childhood memories is of a security guard bleeding to death on the threshold of her family home. Meanwhile, drug profits fuel a hyperactive economy in which a decadent elite of both old and new money are criminally complicit either directly or indirectly, though laundering, loans, and generalized corruption as the state withers and Bogotá becomes site of a Hobbesian “war of all against all” (21). So Agustina’s personal breakdown, and even her family’s dysfunction, are as much as anything a symptom of long-entrenched class neuroses and devastating free-market psychoses alike. And in turn, perhaps (though Restrepo never really makes this point), the Colombian crisis is merely a symptom or effect of a madness that is as global as the international drug trade itself. This is not merely one person’s temporary estrangement; it is a social psychosis, the insanity of our times. Or better, perhaps: what Restrepo’s novel illustrates is a complex and mobile network of inter-related and mutually determining crises that collectively are not so much dysfunctions as the way the system works (as Deleuze and Guattari note), “by breaking down” (Anti-Oedipus 330). It is precisely this disarticulated but connected multiplicity that constitutes delirium.

So, how to understand this delirium? Aguilar’s quest may start out as rational, forensic, and clinical, the attempt to save–or “win back”–one particular individual, his wife, but it is soon caught up in the vortex. One sign of this is the variety of strategies that he finds himself forced to employ to describe it. In trying to map what he calls the “strange territory that is delirium,” he claims early on that he has “managed to establish two things: one, that it is by nature voracious and can swallow me up as it did her, and two, that the vertiginous rate at which it multiplies means that this is a fight against the clock and what’s more I’ve stepped in too late because I didn’t know soon enough how far the disaster had advanced” (19). Even, then, at this preliminary stage we see not only how the delirium itself has advanced–and it is always, we feel, “too late”–but also the proliferation of metaphors that it invokes. Delirium is both territory and disaster. Indeed it is also, in a martial comparison, a “mystical mania that’s invading the house” (15); both space and what comes to occupy that space. Elsewhere, Agustina’s madness is a “river” that “leaves its traces” in the diverse vessels full of water with which she sprinkles their home in repetitive acts of ritual ablution (15). And it is also a disease, as Agustina’s Aunt Sofi observes, “contagious, like the flu, and when one person in a family has it, everyone catches it in turn, there’s a chain reaction that no one can escape except those who’ve been vaccinated” (41). No wonder that Aguilar worries that he himself has caught the bug: “Could it be my fault that she’s going crazy? Or is her madness infecting me?” (78). Sofi has no doubts: “Now you’re the one who’s raving, Aguilar, that’s exactly what I mean when I say that you let the madness contaminate you” (42). More fundamentally, delirium an “excessive vibration,” something that “simmers inside with slow, hostile reverberation” (33), a set of “bubbles bursting inside her” even as it is also likened to “poisonous fish [that] wander the channels of her brain” (15). Sometimes her dislocation is taken to be the emanation of what Agustina herself calls her “naked soul” (21). Yet it is equally often seen as coming from outside and so is repeatedly compared to demonic “possession,” a word, Aguilar tells us, “which doesn’t even form part of my vocabulary since it belongs to the realm of the irrational, which doesn’t interest me in the slightest” (184).

Finally, then, the way in which language itself is disordered and dishevelled in the attempt to describe the madness is an indication that delirium is above all a linguistic disorder, a subversion of claims to referentiality or representation. Delirium is disarticulation: the taking apart of signifying elements to recompose or decompose them in patterns that are apparently random or at least ultimately incoherent. There is much play with words and narrative in this book, from the very basic elements such as names: “Agustina” herself is an anagram, just one shifted consonant away from “angustia” or “anxiety”; no wonder her obsession with crosswords, the methodical rearrangement of signifiers that gives structure without sense. More broadly and more strikingly, and as is announced in the novel’s opening epigraph that quotes Gore Vidal quoting Henry James’s warning “against the use of a mad person as central character of a narrative” (7), the novel repeatedly and consistently shifts between perspectives, points of view, and narrative voice. From Aguilar to Agustina to her grandfather to her ex-lover and shady friend, from first to second to third person violating conventional syntactic or grammatical rules, run-on sentences tumbling or circling like eddies in a river: Restrepo’s book endlessly flirts with derangement. For it is the search to define or describe, to tell a story about madness that pulls us into the flow that negates that very attempt. It is as though delirium can only be enacted or performed, always escaping any attempt at representation, forcing signification itself to become volatile, unstable, delirious.