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mourning etiketine sahip kayıtlar gösteriliyor. Tüm kayıtları göster

28 Ocak 2016 Perşembe

Mourning and music: a song for Boston

I had been working on a post on the subject of mourning and music. But with the trauma of the Boston Marathon bombing still so fresh, it did not seem appropriate to write about any other subject. I wondered, what could I add to the discussion? Then this morning, with the idea of music as a means to connect with feelings on my mind,  I heard on the radio the song Learn Me Right by Mumford and Sons. The lyrics, specifically the chorus (not the verses), are perfectly fitting to the moment, though the "scream" with hope will be one of joy,  not terror. And the music, particularly the version performed by Birdy for the movie Brave, captures the spirit of resilience. It can represent hope for the triumph of the people of Boston and of the Marathon itself. It may not be everyone's cup of tea, but for me, and perhaps for others, the music can help connect with the feelings of the day.

We will run and scream
You will dance with me
We’ll fulfill our dreams and we’ll be free
We will be who we are
And they’ll heal our scars
Sadness will be far away


27 Ocak 2016 Çarşamba

Music, mourning, and family narrative


(I wrote this post before we learned of the complex family and historical background of the alleged Boston Marathon bombers. I was again going to postpone publishing it. But I wonder if these ideas of mourning and family narrative have something to add as we struggle to make sense of the events of the past week. There seems to have been a tragic and deadly coming together of what French psychoanalysts Francoise Davoine and Jean-Max Gaudelliere, in their book History Beyond Trauma, refer to as "big history" reverberating in individual family history. It is hard to say any more when at this time we really know so little. Rather than making any further explicit connection, I will simply share my post below. It offers what I think can be a message of hope.)

I have been meaning for some time to write a blog post about Dar Williams'  beautiful and profound song "After All." A chance meeting with Marshal Duke, the lead researcher referenced in a recent New York Times article, The Family Stories that Bind Us, provided the inspiration.

Duke's research along with that of Robyn Fivush, has shown a clear correlation between a child's knowledge of family narrative and such qualities as resilience and positive self esteem. In a 2008 paper they describe the "intergenerational self." They write:
It is this intergenerational self and the strength and guidance that seem to derive from it that are associated with increased resilience, better adjustment, and improved chances of good clinical outcomes.
William's song, both the lyrics and the music, provides solid evidence for this theory. In it she describes her struggles with pain and sadness, and her journey to find a way to embrace life.  The lyrics speak to the importance of family narrative. 

And if I was to sleep
I knew my family had more truth to tell
And so I traveled down a whispering well
To know myself through them

The historical nature of this narrative is clear in these lyrics.

Sometimes the truth is like a second chance
I am the daughter of a great romance
And they are the children of the war

For the full impact of the song, I hope that readers will listen to it. For in my view, it is not simply the telling of the story that is important. In order for parents to pass the family narrative on to their children in a way that is meaningful and useful, the feelings associated with the story, which often includes trauma, loss, and grief, must also have found a way to be expressed. This is easier said than done. It involves having a safe, containing, holding environment in which the stories can be understood.  A secure, trusting relationship with someone who can hear the story is important.  Art, including music and literature, can have a role to play as well. Those feelings are certainly present in Williams' music. In her introduction to this live version, she expresses surprise to have discovered a large community of people who could relate to her experience.

Go ahead push your luck
Find out how much love the world can hold
Once upon a time I had control and reined my soul in tight
Well the whole truth
Is like the story of a wave unfurled
But I held the evil of the world
So I stopped the tide
Froze it up from inside
And it felt like

A winter machine that you go through and then
You catch your breath and winter starts again
And everyone else is spring bound
But when I chose to live

There was no joy it's just a line I crossed
It wasn't worth the pain my death would cost
So I was not lost or found
And if I was to sleep

I knew my family had more truth to tell
And so I traveled down a whispering well
To know myself through them
Growing up my mom had a room full of books
And hid away in there

Her father raging down a spiral stair
Till he found someone most days his son
And sometimes I think my father, too, is a refugee
I know they tried to keep their pain from me
They could not see what it was for
But now I'm sleeping fine

Sometimes the truth is like a second chance
I am the daughter of a great romance
And they are the children of the war
Well the sun rose

With so many colors it nearly broke my heart
It worked me over like a work of art
And I was a part of all that
So go ahead push your luck

Say what it is you gotta say to me
We will push on into that mystery
And it will push right back
And there are worse things than that
'cause for every price and every penance that I could think of

It's better to have fallen in love
Than never to have fallen at all
'cause when you live in a world
Well it gets in to who you thought you'd be
And now I laugh at how the world changed me
I think life chose me
After all

26 Ocak 2016 Salı

A necessary mourning


I heard the phrase, "I don't want to live in the past" three times last week. The first was from Dr.Ruth Westheimer, famous sex therapist and Holocaust survivor. Her interviewer pointed out the inconsistency of that statement and the fact that she was in town to see a play about the story of her life. The second was a mother who wept in my office as she spoke of her troubles dealing with her young daughter's behavior. She recognized how her own issues got in the way, but wished to "live life forward."  The third was from my father.  We are working together to find a way to tell his remarkable story of his life in Nazi Germany, his escape to America, and his subsequent rescue of his parents from Theresienstadt when he returned as a soldier with the US army. His ambivalence is powerful-one day he will be eager to tell more stories about his life, and the next day he will shut it down. 

I find myself thinking-do these stories, often associated with very difficult and painful memories- need to be told? Virtually every person who hears my father's story says it must be told. But why?

I think there are two answers. The first is about history. History is essentially about telling stories from the past. Our hope is to make sense of things and so to better understand the present and future. But it may be difficult for the individual person who experienced the trauma directly to carry this burden. Perhaps history needs to be written by those who can study it from a distance.

The second answer is more personal.   It is about the hold that unprocessed grief can have on an individual, and on subsequent generations. When speaking with a friend about how little I knew about my father's life until very recently, she said, "Can you imagine how much energy it takes to hold all of that in?"

When loss on the magnitude of the Holocaust has occurred, it is very difficult to wrap one's mind around the effect of unprocessed mourning. In my work with parents and young children, however, its effect can be immediate and vivid. Here is an example from my pediatric practice.

Emily brought her son Michael to see me when he was 3 and 1/2 months old. He had been born one month premature, but it was clear from a first glance that he was doing well. I remember noticing that his mother was so close, physically close. She hovered over his carriage, reluctant to let me pick him up. She stood inches from him while I examined him.


He was robust little boy who gave a big smile as he intently followed his mother's face. Emily felt he was doing well. So well, in fact, that she was attributing qualities to him for which he seemed to young. "It's good for him to comfort himself, right? I should let him cry, right?" She seemed very anxious.


About a year earlier, Emily had lost a baby, Christopher she called him, in her ninth month of pregnancy, when she was in a car accident. She conceived again almost immediately. And here was this miracle baby. I watched Michael sleeping in his blue jumper. He seemed so small and vulnerable. 


"He's doing great," I said. Emily continued to wear that uncertain look as I tried to reassure her. She asked about sleep. "Is it OK if he is still in our bed? Is it good for bonding?" she asked. I was puzzled by this question and paused, asking her to tell me what she meant.


"Is he bonded to me?" she asked. I started to attempt an answer when she interrupted me. "Can you bond in utero? I mean I bonded to Christopher, but he died. I didn't let myself bond to Michael when I was carrying him."


I felt a tingling in my arms and a clutching in my chest. Tears came to my eyes as I watched them run freely down her cheeks. We sat this way for a while, living in the unbearable pain of her loss.


With Emily I wondered aloud if getting pregnant so quickly had prevented her from doing the difficult work of grieving the loss of her first child. She said to me, "I feel like I can't give all of myself to Michael. I have to hold back to protect myself." 


At that visit with me, perhaps fortified by our moment of connection, of true empathy, she found the courage to face this task of grieving. She recognized it was critically important not only for herself, but for her relationship with her infant son.

 Sometimes there is urgency to telling these stories, to protect the next generation from the effects of unprocessed grief by enabling parents to be fully emotionally present with their children. In the case of war or massive social trauma, the work of mourning may need to be done generations later, when people are safe and comfortable and do not fear for their lives.

The French psychoanalysts I refer to in my previous post on this subject make the distinction between "big history," and individual family history, noting that the second can sometimes be a reverberation of the first. Gerard Fromm, in his book Lost in Transmission: Studies of Trauma Across Generations, elaborates on this notion through case histories from his work at the Austen Riggs Center.

A friend who knew I was writing about this subject recommended that I watch the first scene of the film Angels in America. It is the funeral of an elderly Jewish woman. The old rabbi looks out at his audience of adult children and grandchildren and, speaking of this woman's life, hardship and coming to America, says, "that ocean crossing lives in you." When they are spoke of or not, these stories live in subsequent generations, and demand to be told.