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“Yes, you do hate Switzerland. And," doctor Messerli paused for effect, "you love it. You love it and you hate it. What you don't feel is apathy. You're not indifferent. You're ambivalent."
Anna had thought about this before, when nights came during which she could do nothing but wander Dietlikon's sleeping streets or hike the hill behind her house to sit upon the bench where most often she went to weep. She'd considered her ambivalence many, many times, and in the end, she's diagnosed herself with a disease that she'd also invented. Switzerland syndrome. Like Stockholm syndrome. But instead of my captors, I'm attached to the room in which I'm held captive. It's the prison I'm bound to, not the warden.

Anna was absolutely right. It was the landscape. it was the geography. The fields, the streams, the lakes, the forests. And the mountains. On exceptionally clear days when the weather was right, if you walked south on Dietlikon's Bahnhofstrasse you could see the crisp outlines of snow-capped Alps against a blazing blue horizon eighty kilometers away. On these certain days it was something in the magic of the atmosphere that made them tangible and moved them close. The mutability of those particular mountains reminded Anna of herself. And it wasn't simply the natural landscape that she attached herself to emotionally. It was the cobblestone roads of Zürich's old town and the spires of this church and the towers of that one. And the trains, the trains, the goddamn trains. She could take the train anywhere she wanted to go.”
― Jill Alexander Essbaum