Word Medicine

Writing and Healing: exploring the art of healing and the healing of art

Willing to Make Mistakes January 23, 2012

Because of my health, I have had to let go of almost every outside activity.  I know by now the trouble I will be in if I don’t respect my limits.  I have let choir go, and tango is on the back burner.  I am grateful to be able to teach, grateful for taking the dog for her daily walk.  Still, I mourn those other activities that kept me feeling alive.

There is one thing I still make time and energy for, though.  A dear friend’s mother is an accomplished painter.  Cessi, like me, is confined to a small life–time has slowed her down.  Yet, there is in her the artist still.  So Cessi and I paint every Wednesday.

Paining with Cessi, I must re-learn beginner’s mind.  I have a good eye, but my skills are minimal.  I must practice the elementary.  I set up a still life: green bottle, a blue and white bowl with bananas and a pink grapefruit.  The bananas lie heavy and tumid in the bowl, the bottle soars up behind them.  How to give the bananas weight, how to suggest the bright, juicy roundness of the grapefruit?  How to paint the light on the fruit, the bottle, the way the fruit holds the light even as the winter evening fades?

I paint the ellipsis of the bowl, the outline of the bottle.  The first strokes feel bold, and it is a relief to have broken the blank space of the paper.  I continue, tentatively, feeling awkward, unsure.  I’m not used to acrylics, not sure whether to make them opaque or transparent, and am hesitant about mixing colors.  I step away, become self-aware, critical.  I freeze, unable to go on.  Cessie looks up at me and smiles encouragingly.  “You are paralyzed.”  It is an acknowledgement, and that is all I need.  “Just keep going.”  I see a way to go on, not with the freedom I long for, but a next step.

Why do it?  It is tiring, and I’m smack up against all my insecurities.  But for those two hours, I’m not in monkey mind.  I’m not obsessing over my daughter’s wedding or work.  For those ours I am in the now.  It is meditation of a sort.

Cessi’s granddaughter, Giordana, comes in.  “You look serene,” she says, noticing the hush in the room.  We speak very little, Cessi and I .  Yet doing it with her makes it less frightening, more companionable.  I feel her supportive energy–she helps contain me.  We go deep into ourselves, together.

It is good for me to remember what it feels like to be a fledgling.  This is how so many of our participants feel, who come to us for guidance and containment as they delve into themselves, seeking the words that will release them.  We are not there to teach them what to write, but to encourage them to listen to themselves.  Maybe one of our most important functions is simply help contain them, giving them practical suggestions as needed, but also to look up and nod and say, yes, I know, you are stuck, or scared, or go further.

Katherine Dunn spoke to this issue of being paralyzed  in Poets and Writers in this last issue: “Sometimes all that saves me is being willing to make mistakes.  There are projects that strike me as so beautiful, important, complicated or just plain big, that they convince me of my own inadequacy.  This awful state of reverence leads to paralyzing brain freeze.  At times like that the only way out is for me to decide, ‘to hell with it. I can’t do it right, so I’ll do it wrong.  I can’t do it well, so I’ll do it badly.’  Sometimes, with luck, while I’m sweating to do it wrong, I stumble on the right way.”

My still-life turned out better than I expected, although the lip of the bowl lists.  But I learned a lot, a whole lot, and I’m less scared now.  I’m more engaged.  Ready to go on and make more mistakes.

 

 

 

 

Craft and Catharsis May 7, 2009

How important is it to focus on craft when we conduct a healing writing workshop?

As artists in healthcare, I think many of us get to this to question. We, ourselves, are constantly striving to refine our own work, but the aim of facilitating a healing writing workshop is not to create artists, but to create an opportunity for healing. So what is the role of crafting, of refining style and mastering elements of good writing, in the healing writing workshop?

Belleruth Naparstek, in her book, Invisible Heroes:Survivors of Trauma and how they Heal, states “those who wind up finding something useful to do in the midst of a traumatic event, who can take charge and effect some measure of improved outcome, usually wind up without symptoms of trauma or with feewer or lighter symptoms, than those who are frozen in hopelessness.” She goes on to say that through this doing, traumatized persons experience “the joyous self-love that comes from accomplishment.”

Writing something as small as a fable, or a short poem may seem insignificant compared to the overwhelming task of fighting cancer, but that small text represents an act of self-agency, a defiant rejection of hopelessness. To create out of the self, when the sense of self and its symbolic order has been fragmented, is often an opportunity not to be restored to a former wholeness, but to find a different wholeness, one which acknowledges loss, but is not devastated by it.

So, what does all this have to do with craft? According to Mark Robinson, a British researcher and teacher, a lot. Crafting that text, that artifact, seems to be an inherently important part of the process of healing. He states: “To sum up, there were strong indications that writers of all kinds felt thy gained psychological benefits from their writing practice. Only in a few cases was this separate from the normal literary writing and redrafting process necessary for good writing of any genre, form or school. An interest in quality, in producing a text which was more than instant or an outpouring but in some way crafted, was clearly integral to the process of writing enhancing  well-being.”

Many professional writers became writers first driven by a need to find healing, or stumbled upon writing as a way to experience the “joyous self-love that comes from accomplishment.” Through that experience, we took up the discipline of the craft, seeking to increase mastery as well as joy. I think it is not so very different for patient-writers. Although they may have various degrees of committment to their writing, for most of them, learning to craft their texts with as much skill as possible is an important aspect of their healing.

 

 
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