CAMERON

CAMERON

CAMERON

He was an elderly man with long, protruding ears that looked rather spectacularly pink with the sun shining through them. A few strands of hair were combed across his barren head from far left to far right, and the pale bristly goatee that encircled his mouth reminded Seely of a vegetable brush. He also had, she noticed with some alarm, a huge black, witchy thumbnail that he was using as a letter opener.

“So! You’re interested in Barbara’s position?” he began in an aggrieved tone, as though she were responsible for Barbara’s leaving. She saw or guessed that he was irritated by the necessity of meeting with her—that he simply wanted the perfect secretary delivered to him and considered having to select her himself a bother and an imposition. After a fussy little gesture over the paisley scarf he wore around his neck, he leaned forward with a sigh of resignation and sank his chin in his hand, apparently waiting for Seely to conduct her own interview. She blinked and gulped, inadvertently grabbing her stomach, where her panic had landed. Then she began, in an admirably calm and measured voice, which only cracked twice, to do just that.

“You’re probably wondering about my qualifications…”

REVEILLE

REVEILLE

REVEILLE

“Last night we celebrated Carolyn’s birthday—three ailing females, languishing on the mattress-sofa, swapping flu germs—while Steve, her boyfriend, served us dinner.

“’Well, you’ve got three choices,’ he announced. ‘B & M beans, boiled hot dogs, or canned spaghetti.’ Then he brought out a platter of chicken in a cream and wine sauce.

“‘You know, a camper horned in on our campsite late last night,’ said Carolyn.

“’Yeah, they woke us up playing reveille,’ said Steve.

“’They caroused and yelled, ‘Kill the commies’—and kept us awake all night long. Steve and I huddled in our tent plotting our revenge.’

“’You should have put tacks under their wheels,’ suggested Susan.

“’But that would have been tactless,’ shrugged Steve.

“’Why not peanut butter in their carburetor…or tomato juice in their fuel tank?’ I offered.

“’What?’ cried, Carolyn. ‘And waste all that food?’

“When Steve finally brought out the birthday cake—with chocolate frosting and candy sprinkles—Carolyn tried to blow out the candles with a hair dryer for Steve’s sake, so he wouldn’t get sick too, but accidentally yanked it out of the wall and missed the last two candles. So much for birthday wishes.”

                                                                              …

Living with two artists, as I’ve said, was a revelation to me. Until I met them, I hadn’t realized how stimulating creative people could be, which made me feel for the first time that maybe I had something to offer as well. Until then I’d imagined that, not being supremely intellectual—which was my father’s standard—I couldn’t expect to be interesting and engaging to anyone else.

BARNACLE BEACH

BARNACLE BEACH

BARNACLE BEACH

About the time I joined the Sierra Club Singles, I began to write some of my autobiographical vignettes in the third person, imagining that I would eventually develop them into short stories or a novel. I named my protagonist Seely, short for Selena, meaning “moon.” (Originally, I was going to call her Celie, for Celine, until I discovered it meant “blind”—not so inappropo after all, as events would prove.)

It was a misty morning at Barnacle Beach. Seely felt ridiculously overdressed in her heavy down jacket and ponderous backpack, straggling behind hikers in jogging shorts, their only encumbrance the Nikes strung around their necks. She had come prepared for any weather, her pockets stuffed with mittens and earmuffs. At the moment, however, she wore a broad-brimmed, floppy straw hat which the kleptomaniac wind kept trying to swipe off her head; she had to pull it so far down over her eyebrows to secure it that she could only see a few feet in front of her, unless she craned her head back, which she did until she got a painful crick.

A roly-poly man named Jason, who had squarish teeth with great gaps between them—his smile reminded her of washcloths strung out on a clothesline—escorted her along the water line. He told her he was an insurance loss-prevention agent.

“I go to construction sites—” he began.

“And stand below and catch anyone who falls off?” Seely suggested.

“No, actually, I have a net,” he grinned.

After a short distance they came to a huge jag of rock that angled down into the water and blocked their path. It was steep and unscalable, so there was nothing to be done but dash around it during the ebb of a wave. Seely, who had rolled her jeans up to her thighs and tied her bulky jacket around her waist, made a concerted scramble, but emerged with soggy cuffs and jacket tails.

On the other side, the cliff was eroded to form enormous columns, like a vast set of organ pipes. The two of them clambered up the bank and squeezed themselves into the hollows between the pillars, which were perfectly round, covered with moss, and tunneled up fifty feet. Jason had some difficulty prying himself out again, but, thanks to Seely’s calm cliffside manner, didn’t get unduly alarmed about his predicament.

Everywhere across the sand, bits of scarlet seaweed were strewn like autumn leaves. Seely found a long, rubbery piece of seaweed that looked like a donkey’s tail. When she brandished it like a whip, Jason roared, “If you hit me with that, I’ll yell for kelp!” Just then, a particularly wily wave ambushed them from the side and sent them tumbling over each other to escape its foamy clutches.

OPERA GLASSES

OPERA GLASSES

OPERA GLASSES

“Last night, coming back from disco class with Susan, I yelled on the top landing that it was hopeless—I was never going to find a job I liked—and I dived halfway out the open window, flailing my arms and leg (the other foot planted firmly on the ground).

“’I’m going to end it all,’ I wailed.

“’You can’t do that yet!’ Susan cried, dragging me back by the coattails. ‘You haven’t paid your part of the phone bill!’

                                                                             …

“This evening, outside my window, I hear the sounds of the city showering—the first time since I moved to Berkeley. Nearer at hand, I fancy a bird inhabits the rain gutter, it chirps so musically with trickling water at the corner beyond my desk. I have an unimpeded view, across several back lots, of a neighbor watching TV with his feet propped up on something on the one…two…three…seventh floor. Mornings I see him doing push-ups, his head bobbing rhythmically above the projection of his balcony, like something in a carnival target-shoot booth. Singing gaily, I dress in front of him, hoping that, despite the distance, he can still distinguish my secondary sex characteristics. Who knows? Maybe if I sing loud and long enough, he’ll buy opera glasses.”

THE JOURNAL AS ART

THE JOURNAL AS ART

THE JOURNAL AS ART

As I mention earlier in Callie’s Ragbag, I was in my twenties when I wandered into a shop, searching for books for my classroom, and happened upon Where the Wild Things Are. When I got to the last line, it went right through me—whomp!—hit bedrock. I had to stand there awhile, fighting back tears, trying to compose myself. That was the moment, I’ve always known, that my wish to write children’s books took root. Some time later—weeks?…months?… I sat down with a pencil, munched on the end of it a while—but couldn’t come up with a single idea. “Eventually,” as I wrote in my long bio, “I concluded that I couldn’t write fiction and turned to journaling instead, imagining that maybe I could become a diarist like Anais Nin—though without a famous paramour like Henry Miller, I had my doubts that anyone would ever read my work.”

Now as I cast around in my mind for more ways to earn a living, I came up with the idea of teaching a mini-course I’d call “The Journal as Art.” As an experiment, I advertised it in the Bay Guardian as free 4-week course—and attracted a handful of students, only to find that it wasn’t a comfortable fit for me because I was too insecure about my own opinions to edit and critique other people’s work. But Vitalee, a newly arrived New Yorker—who’d just broken up with the boyfriend she’d traveled across the country with—became a new (and now old) friend and a month later, along with my roommate Susan, we were taking disco dancing lessons together.

CIVIL SERVANT

CIVIL SERVANT

CIVIL SERVANT

“An experiment. It’s too hot in the house to do anything but sweat, so I’ve turned amphibian and made bath water my element. I’m presently squatting in the tub with my typewriter on a board and my hair in a shower cap to keep it off my neck.

“Today was a bummer. I went to a certain office in the City to look over listings for civil service jobs. I was toting a wool coat (though the temperature in Berkeley was 90 degrees, I was prepared for any exigency), a pastrami sandwich (will the mayonnaise spoil in the heat and poison me?), and a jumbo sketch pad (the only paper I could find). Once in the City, I drove in dazed circles for an indeterminate amount of time around the appointed block—parking lot prices having shorted out my circuits.

“’One hundred’ was lettered across the entrance of the building I sought. I passed a futuristic arrangement of lights suspended from the ceiling in the lobby and took the elevator for floors 10-18. The floor numbers lit up dimly in a little black window over the buttons as they do on computerized cash registers. I mention this because it took me only half a minute to notice this—and they call me a slow study! On the eleventh floor I got out and stared down blank corridors.

“When I took the elevator down again two hours later, I felt as deflated as a popped balloon—job titles I couldn’t decipher, entailing responsibilities I couldn’t fathom, conveying a tedium that numbed my mind to contemplate.”

THICK OF THINGS

THICK OF THINGS

THICK OF THINGS

Lafayette is all of fifteen minutes from Berkeley on the freeway, but being on the other side of the East Bay hills, it might as well be the ends of the earth—no one will come to visit you. Consequently, I felt like I was living a peripheral existence—in exile, if you will. So, after I lost my job at Sofabed Warehouse, I moved back to Berkeley, back into the thick of things. I took an apartment on Hillegass Street with two artists—Susan, a graphic designer who free-lanced for Levi-Strauss, and Carolyn, who made fabulous costumes and “did” the historical fairs.

My bedroom was a long, narrow sun porch, facing the bay, with a solid bank of windows on three sides.

 

TIDY

“Last night I dreamed I came down with mononucleosis and had a mumps-like swelling of the neck. Consequently, the first few hours of the morning I couldn’t quite shake the residual notion that I was ill—and dragged myself around listlessly.

“In the early afternoon Carolyn found me in the kitchen, trying to pry the lid off a Schiller’s spice can with a screwdriver. The thing popped off suddenly, discharging curry powder all over my lap. Carolyn laid down some newspaper, which I carefully sidled onto and beat the ocher stain from my jeans. Then, mounted on a chair, she went spelunking in the spice cupboard while, with a note pad, I chronicled her discoveries.

“While my egg was boiling, I played two games of backgammon with myself, allying myself with white and losing both times.

“Before Meredith arrived to see my new place, I took down the clothesline I had strung up on the far side of my bedroom last week and razed and carted off the tower of boxes I’d left there since the day I moved in. Afterwards I stared around my room at the orderly files of colored folders, freshly laundered rug, dainty new underwear, folded and ready to be put in the dresser I didn’t own yet—and felt overawed by the tidiness of things.”

SWAPPING HEADS

SWAPPING HEADS

SWAPPING HEADS

It’s not hard to grasp the idea that if you’ve been victimized as a child, until you learn to protect yourself—and come to know that you’re worth protecting—you’re liable to keep stumbling into situations in which you’ll be victimized again.   But what can be harder to identify are the mechanisms by which you open yourself to misuse and abuse.

For much of my life I held an ideal about living harmoniously with everyone who happened into my life. When someone cut me to the quick, I’d get appropriately angry. I’d rail at them in my mind to work off steam, then confront them as diplomatically as I knew how. But if nothing got resolved, I’d find a way to “swap heads” with them. Suddenly I’d find myself seeing everything from their point of view, intuiting what they thought and felt and why they’d done what they had—or, at least, imagining I did. Then my anger would subside, and I’d experience a sense of personal transformation. I’d feel humbled, clear, and whole. In this rapt state, I no longer felt vulnerable, so forgiving and mending fences came easily. This transformation always felt like a spiritual passage. There was only one problem…well, two, actually: I wasn’t really invulnerable—and the other person hadn’t changed. In fact, now I was more vulnerable because in the process of identifying with and forgiving the other person, I came to feel an even deeper sense of connection with them, so that when they repeated whatever behavior had wounded me in the first place, which they were bound to do because they hadn’t taken any responsibility, I was even more deeply hurt than before. The cumulative effect of experiences like this was to make me feel that the harder I tried to be a good person, the more misery I brought on myself.

I now believe that the reason the experience of “self-transcendence” transported me the way it did was that it allowed me to feel hopeful in situations where, in fact, there was no hope and created the illusion, on a symbolic level, that I’d resolved my childhood predicament. What underlay this hope was the apprehension that if I could transform my feelings, so could the other person—hadn’t I just proved it could be done?—and underlying this apprehension lay the misguided assumption that, like me, they would want and aspire to.

I suppose the bottom line was that I kept trying to extend to other people the same degree of empathy and understanding that I wanted for myself, not so much because I expected a return, but rather because by offering it, I felt myself creating the possibility of such empathy and forgiveness in a world that hadn’t admitted such a possibility to me.

THE PERFECT CHILD?

THE PERFECT CHILD?

THE PERFECT CHILD?

In A Patchwork Memoir I wrote:

The Drama of the Gifted Child has been the single most important book I’ve ever read, in terms of the impact it has had on my life. For years I could find no explanation for my ongoing battle with anxiety and depression, for the depths of despair I so often felt, for my failed relationships, and my inability to make a success of myself. I had done everything I knew to do. I’d excelled academically, tried therapy, different jobs, various living situations—I’d taken risks, I’d been disciplined, I’d persevered. I couldn’t understand why I continued to be so unhappy. My parents hadn’t been grossly abusive—I hadn’t been locked in closets, starved, battered, raped… What was wrong with me that I couldn’t seem to get a grip?

Miller’s short book was my introduction to the concept of a false or adapted self and a true self that has been sacrificed. When I understood that the loss of one’s true self is the greatest tragedy of all and that it happens, at least partly, as a function of a child’s sensitivity and capacity for empathy—that is, their vulnerability to unconscious misuse by their parents—I finally began to understand my own history.

I understood why, during my adolescence, I’d developed, as a response to my mother’s admonition “deprivation makes us grow, unless the deprivation is too great,” the notion that I was more heroic than other people—that my suffering would yield an advantage when I was older. And why in my early twenties I made the conscious choice to relinquish this form of grandiosity because I saw through it—because I recognized that, in my own case, the deprivation had been too great, that rather than making me strong, clearly it had crippled me. I also understood why I became so deeply depressed after surrendering this defense.

Now I could begin to see the ways my parents had, unknowingly, misused me. I had always felt I had to be the perfect child to buttress my mother’s shaky self-esteem; especially after my brother was burned, she’d needed a model daughter to prove to the world that she was a good mother, as well as to justify her vocation as a therapist. I could see how, for my father, I’d had to be the accommodating companion, the childhood friend he hadn’t had—who kept him company but made no demands of my own.

I understood that I’d had to be an independent and trouble-free child because neither of my parents could tolerate anyone or anything that impinged on them too much. I couldn’t have needs because neither of them could tolerate my having them. I couldn’t express any negative feelings because they couldn’t tolerate those either. My father was contemptuous of fear, incensed by anger, and dismissive of sadness. While my mother wasn’t contemptuous of fear, she was impatient with mine, threatened, perhaps, because it suggested I wasn’t as well-adjusted as she needed me to be, and, like my father, she was incensed by anger and dismissive of sadness—at least of my sadness.

When, after puberty, I could no longer be the perfect child because I was coming apart at the seams, my parents abandoned me emotionally. I think on some deep level I felt betrayed then—that I’d sacrificed who I was to be what they needed me to be, and now that I was in need, all they could do was blame and disparage me. I stopped kissing my mother “good night” around the time of the divorce—in my memory, though I could be mistaken, it was the night she assured me that after the divorce “nothing would change.” We never hugged again, either, until I began to initiate embraces as an adult. As for my father, my fantasy about my mother remarrying so I could have a new, nicer (step)father is testiment to how disillusioned I was with him.

ALICE MILLER QUOTES

ALICE MILLER QUOTES

ALICE MILLER QUOTES

– There was a mother/parent who at the core was emotionally insecure and who depended for her narcissistic equilibrium on the child behaving, or acting, in a particular way.

– The child had an amazing ability to perceive and respond intuitively, that is, unconsciously, to this need of the mother, or of both parents, for him to take on the role that had unconsciously been assigned to him.

– This role secured “love” for the child—that is, his parents’ narcissistic cathexis. He could sense that he was needed and this, he felt, guaranteed him a measure of existential security.

“As I think back over my last twenty years’ work, in the light of my present understanding, I can find no patient whose ability to experience his true feelings was not seriously impaired.”

“For the majority of sensitive people, the true self remains deeply and thoroughly hidden.”

“Experience has taught us that we have only one enduring weapon in our struggle against mental illness: the emotional discovery and emotional acceptance of the truth in the individual and unique history of our childhood. Is it possible then, with the help of psychoanalysis, to free ourselves altogether from illusions? History demonstrates that they sneak in everywhere, that every life is full of them—perhaps because the truth often would be unbearable. And yet, for many people the truth is so essential that they must pay dearly for its loss with grave illness.”

“That probably greatest narcissistic wound—not to have been loved just as one truly was—cannot heal without the work of mourning. It can either be more or less successfully resisted and covered up (as in grandiosity and depression) or constantly torn open again in the compulsion to repeat.”

“Before he can develop his own form of criticism he first adopts his father’s hated vocabulary or nagging manner. And so the long repressed anxiety will surface in—of all things!—his mother’s irritating hypochondriacal fears. It is as if the ‘badness’ in the parents that had caused a person the most suffering in his childhood and that he had always wanted to shun has to be discovered within himself, so that reconciliation will become possible. Perhaps this also is part of the never-ending work of mourning that this personal stamp must be accepted as part of one’s own fate before one can become at least partially free.”

(I had to look up cathexis in the dictionary. It means “Concentration of emotional energy on an idea or object.”)

After rereading this last quote, I had an “Aha!” moment. So that’s what I was intuiting when I wrote about my therapy with Beth:

“What is it that I’m not allowed to express—my own craziness? Keep those psychic hobgoblins hidden, those two-headed, twelve-toed tenants of my head—bitterness, paranoia, self-pity. Must I then, always and only, manifest what is sane and sound and good and right?

That’s why I needed a safe place to express those ”uglier” feelings—because healing involves discovering, exploring, and accepting the darker aspects of your parents in yourself.