Breakdown

(Written in September 2008.  A longer version of this was posted 4/17/10)

I’m doing pretty badly.  I keep having waves of fear — tho they do pass.   I talked to Dr. L & she said to raise the meds to 150 I and 40 Buspar.  So I took extra in the middle of the day.  If it doesn’t work I will ask her to prescribe Adivam — at least I know that works with Imipramine.
And if that doesn’t work, I’m seriously considering going into the hospital — Lore recommended the one in Berlin/Montpelier and Karen has had patients there and knows some of the staff.

Slept hardly at all, 2 hrs before midnight but nothing after that.  Anxiety has spiralled out of control.  I’m too exhausted to do any of my coping strategies — EFT, yoga breathing.  I can’t even read.  I left a message for Dr. L asking her to prescribe Adivam — since I know I’m OK with it.  I don’t dare try anything new.  I think what’s happening is flashbacks to the Paxil episode.

I quit this morning.  Just gave up the struggle and put myself in the hands of  …  whoever.

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Another Bad Night

(Written in September 2008)
Another bad night.  Heat in my chest and elbows — I think I remember that one from ‘96.  I’m doing my best to accept whatever is going on, thinking of it as a shamanic illness. I have no idea what’s happening to me.  It’s OK to not know.
Have mercy upon me.
I offer myself to this process.
At least I’m not terrified.  I do feel sleepy.  I think about my friend Eleanor.  Fellow soldier in a difficult war.  A severe practice.  I keep hearing the music of the Oratorium in my head.
I’m not going to leave you.  I’m going to stay right here next to you.  You don’t have to do or be anything different than you are.

Sue Monk Kidd, When the Heart Waits: “… some new struggle toward wholeness gestating within.  That’s the sacred intent of life, of God — to move us continuously toward growth, toward recovering all that is lost and orphaned within us and restoring the divine image imprinted on our soul.” p4
“Waiting does provide the time and space necessary for grace to happen.” p 13

Listening to Oratorium. Lost in a vast landscape.  Where’s that loving god who welcomed me at the Gate of Heaven?  And my heart warms.  And cold and lost again, frozen & numb.
I have to believe that some part of me, outside ordinary consciousness, is using this opportunity to heal some very deep wounds.  I feel like a witness to some enormous disaster who is frozen by shock and can’t do anything to help.

The Oratorium in Memory of the Armenian Genocide of 1915

See the post for the Summer of 1996

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Spring Equinox

Last night we celebrated Equinox at Neskaya.  Spring Equinox is when the days start to be longer than the nights, so we do a lot of sun dances.  This year, the Jewish festival of Purim came on the same day, so we celebrated it as well.
The first half was fairly lively dances.  We started with “Four Seasons”, a classic dance that we do on the Equinoxes and Solstices. We do a dance from the Faroe Islands to an English song.  Then we did “Sunrise”, “Le Printemps”, “Suvetar”, followed by “Veseni Chorovod” which is a braiding dance — the dancers create a tunnel, and then the leader comes through it, breaking out of the tunnel of winter to spring.  We were 8 dancers, and it turns out that letting the music play twice was just right for each of us to get a chance to be leader.  Because part of the celebration of Purim involves wearing masks and costumes, we followed that ritual dance by putting on masks (Neskaya has a varied collection) and waving scarves.  The music was a piece that Pablo brought from South America.  I really enjoyed watching everybody swirling through the room waving scarves, hidden by masks, in some ways it felt like the dance floor was filled with spirits.
After break I put on the music for “Bells of Norwich” and we just started dancing to it.  It’s simple and well-known so I didn’t have to teach.  The song is based on the story of Julian of Norwich:  “…let the winter come and go..  All shall be well again I know.” We did the Bach Sun Meditation, one of the first choreographed sacred circle dances, and David Melech, a song/dance about King David in which he goes to sleep at the end.  Judy Felsen, our expert in Jewish holidays, especially the esoteric meanings, told us that a sleeping king fit right into the symbolism of Purim.  We followed that by The Awakening, a lovely dance, celebrating the awakening of Spring and of our hidden nature (another theme of Purim).  Then we did Kore, another dance from the beginnings of Circle Dance.  It was choreographed by Kalliroi K Ortmann from dancing female figures on a Greek vase.  The music is from Mikis Theodorakis, a great contemporary Greek composer. Kore is the archetypal spring dance for the Equinox, it reminds us of the emerging of Persephone, Queen of the Underworld, from her six month sojourn in the Great Below. We followed with Danza Solar, again celebrating the sun, day’s triumph over night, and ended the evening with our usual Midwives dance, coming into a hug at the end.

For more on the story of Kore/Persephone, see post for March 21, 2010

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Guidance

(Written in August 2008)
Dear Guides and Guardian Spirits, I’m having a pretty hard time.  Please help me.
Dear Jenny, we love you.  We love you very much.  We are so sorry that this is being so hard, but it is the work you came here to do.  In allowing yourself to feel these feelings, of cold, isolation, nameless dread, you are allowing them to pass through you and not get stuck.  We know you don’t feel like anything is moving, but the sense of being stuck and the fear of being stuck is some of what you are processing.  You are experiencing the feelings of a baby who is absolutely dependent on the outside world to get its needs fulfilled.  This is a degree of helplessness that is unbelievably painful when it is met with neglect.  Your feelings are a correct response to your early environment.  You could not feel them then, it would have been too overwhelming.  You would have ceased functioning and become catatonic.  But these feelings must be felt or else they will remain stuck and create havoc in the environment.  We honor you for your willingness to take on this work.
Thank you.

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Breakdown 2008

In the spring of 2008 I was feeling pretty good.  I thought that the thyroid supplements had taken care of the depression and I didn’t need to keep taking medication.  So I started reducing my dose of imipramine.  I also signed up to take the Nia training.  Nia intrigued me because it was based on yoga, martial arts and dance — exactly the three movement arts that we started with at Neskaya.  So I went to Albany, New York to do the training with Casey Bernstein. I was staying at the home of another Nia teacher.  The first day of the training I walked out the front door and slipped on wet steps, hitting the middle of my back on the corner of a stair and knocking the wind out of me.  I should have known enough from my Somatic Experiencing training to let myself shake and cry, but the social pressure from the others was too much.  So I pulled myself together and went on with the training, despite the fact that my ribs felt like concrete, and I periodically felt too awful and had to lie down.  On the other hand, I really enjoyed doing so much dancing during the day, and I learned a lot.  I felt really proud of myself as I drove home.
I went to my chiropractor and saw Kevin Frank and thought I was doing OK.  At first my energy level was really good.  So I signed up for a drama project called “Telling my Story” and for Circle Dance Camp in Wentworth, New Hampshire.  I started having trouble sleeping and remembering things.  At one point in September I remember that I was feeling “beyond tired”.  Then I had a night of no sleep at all, and suddenly was terrified and unable to function.  A friend drove me to my psychiatrist and she put me on Seroquel (which was the hot new drug).  Later it turned out it was making me nauseous, but at first it seemed to help.  The last few months of 2008 and the first few months of 2009 were horrible. Several times I considered going into the hospital.  My psychiatrist took a leave of absence without recommending anyone – it was just as well because I was finding it hard to trust her.  My emotional anchor therapist, Karen, in Montpelier found me somebody new and good.  He got me back on imipramine and off seroquel, but it took a long time.

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“You were never that way”

My mother did not know how to forgive, and so I learned that I was unforgivable.  If I did something “wrong” there was no way I could make amends.  This resulted in some odd behavior that I see as shameful now — an example: I lost my cousin’s bike and never apologized or offered to buy her a new one.  I went into denial about the whole thing, disappeared it, made it not happen.  It was only much later that I remembered several such incidents, and I fear there are more that I’ve completely forgotten.  I was so ashamed that I could barely look at them, much less try to make amends.  Then I saw the movie “Mommie, Dearest” where Joan Crawford’s daughter apologizes for waking her during her afternoon nap.  Crawford doesn’t say “That’s all right, I still love you, you’re forgiven,” she says harshly “Well just don’t do it again.” Lights went on for me.  I realized that when apology was unacceptable, there was no “right” action but not to have done it in the first place.
I remember two moments of redemption in my life.  I was in High School and for some reason I don’t remember, I was unable to write a paper that was due.  I went to the teacher, Miss Sheffield, and told her I hadn’t done it.  I expected to be yelled at.  Instead, she looked at me consideringly for a moment, and then said “You’re a good student.  You’ll write it when you can.” I was so relieved I wrote the whole paper in the next study hall.  It was the first time someone had trusted my integrity.
The second time happened during the time after Mother had broken her hip.  We kids all went home in sequence to help her transition from the hospital to the house.  I was the last one.  By the time I got there she was in a hospital bed in the living room with a walker and a commode.  Mama Greene, who had been taking care of us since I was three, was still coming every day to clean house, cook and wash up, etc.  Mom was her usual unpleasant demanding self, and I survived by doing exactly what she asked me to without questioning or resistance.  I was planning to leave on Friday.  Thursday evening Mother suddenly said “This is a good time to call Mama Greene and tell her we don’t need her tomorrow.” So I picked up the phone and dialed Mama Greene’s number.  When she answered I said “Mom says she doesn’t need you tomorrow.” She said “But you’re leaving and it’s my last chance to see you.” I heard the tremor in her voice and felt angry.  It was OK for Mom to hurt me but not OK for her to hurt Mama Greene.  I also hadn’t expected Mama Greene to care about whether she said good bye to me or not — which is total blindness from childhood conditioning on my part.  I said to Mom “She just wants to see me.” Mom turned her head away and said “Hmph.” Even now, some part of me wants to believe that she hadn’t heard what I said.  I hung up the phone and sat down.  But I started to cry.  Mother didn’t even notice, so I said “I’m going upstairs.” I closed the door to the guest room and called Mama Greene.  I said “I’m so sorry.  I would get in my car and come over & give you a hug, but that would hurt Mom and I can’t do that.” She said “No, you were never that way.” A huge load that I had carried for 50-odd years dropped from my psyche.  Mother treated me like I deliberately tried to hurt her whenever I could, and I had taken it on.  When Mama Greene said “You were never that way,” I felt like I’d been absolved by the Pope.  The relief!  This woman had known me since I was three, she had to be saying the truth.  I told her I loved her and she said she loved me before we hung up.

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Redemption

I’ve been thinking about redemption since I wrote yesterday’s post.  It’s not a word I use.  But it’s the only word I can think of to describe those moments of relief when one’s most shameful secret is told to a compassionate witness and somehow loses its sting. There are a couple of scenes in two of Goudge’s books where the person told says “I’d have done the same.” In others just the telling to a sympathetic listener brings relief.  It’s like the terrible thing you did becomes just an ordinary human stumble.  What happens then isn’t really forgiveness, it’s BEYOND forgiveness.  That thing which separated you from the human race becomes the thing that rejoins you.  I had done something, years ago, I hadn’t intended to hurt my friend Lynelle but it had hurt her.  Recently I asked her if she had forgiven me, and she said “You’ve been carrying that for all these years?” And again I felt huge relief.  I once had a dream in which I’d had an experience of God’s forgiveness and was trying to explain to other people how god had forgiven us BEFORE we had even done the thing.
In the Dictionary the first meaning of “redeem” is “to recover ownership of by paying a specified sum.” The sixth is “to set free, to rescue or ransom.” I think that’s the closest to what I’m trying to describe — to be set free from a burden of shame.

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Elizabeth Goudge

Elizabeth Goudge is a British writer who published 16 novels from 1936 to 1970.  She also wrote short stories, children’s books, and books about Christianity.  I was lucky to find her during a period of severe depression, and lucky that the Franconia Library has a complete collection of her novels.  I’ve gradually acquired most of them, and I read them over and over again.  I find them very comforting.
Three things that mean a lot to me: she writes about the realm of Spirit interacting with us in our daily life.  She is clearly a Christian, but not a narrow minded one.  There’s room in her world view for fairies and other nature spirits.  In her novel about the English Civil War between Royalists (many of whom were Catholics) and Puritans who were Protestants, she writes compassionately about people on both sides.
Secondly, she introduces a character in such a way that I have a complete picture of them and no difficulty telling them apart.  (I’ve read a lot of books in which this is not true.) Sometimes she introduces people in a scene that quickly reveals some important characteristic, sometimes she tells a life story in a few paragraphs.
Thirdly, her descriptions of nature are detailed, evocative, and beautiful.  I don’t know any other writer who can describe the English countryside so movingly.
On the jacket of Pilgrim’s Inn, the second in the trilogy of the Eliot family, she says of her own writing: “It has a happy ending, for I love these people too much to let them be unhappy for long.  I know that happy endings are sometimes inartistic, and certainly not always true to life, but I can’t write any other kind.  I am not a serious chronicler of the very terrible contemporary scene, but just a story-teller, and there is so much tragedy about us everywhere today that we surely don’t want it in story books to which we turn when we are ill or unhappy, or can’t go to sleep at night.  We must escape somewhere.  I had some happy hours of escape when I was writing this book, and I hope very much that perhaps a few readers my have them when they read it.”
Elizabeth herself suffered from arthritis and depression, and she had considerable experience of mental illness, her own and others.  She has created some wonderful characters who struggle with depression and mental illness, and reveals them from the inside.  One of my favorites is Cousin Mary, who appears only in her Diary in The Scent of Water.
I find Goudge very comforting because she doesn’t deny the painful side of life but she encloses it in a story that essentially shows how “all things work together for good.”  Although she writes about some difficult people, there’s only one person I can remember who is really “evil” and that’s Mrs. Belling in The Rosemary Tree.  There are a number of characters who are unattractive at first but are later redeemed.  The scenes of redemption are always moving, and when I read them something inside me relaxes and says “Yes” with relief.

For more information about Elizabeth Goudge

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Nancy Napier

(Written in September 2008)
A little better this morning.  My heart still hurts but I’m not experiencing the same depth of despair.  Yesterday I was reading Nancy Napier’s chapter on despair where she talks about sending a line of light from your heart toward the lost infant.  When I did that I saw that the infant was enclosed in a shell — like a walnut shell, round and wrinkled — a thick hard shell, and the shell with the infant inside it is in my heart.  The shell can’t be cracked open, it’s hard and thick, it will have to be dissolved.  So I set myself to the task of holding it patiently, gently, softening around it, surrounding it with gentle light, and just waiting.  This is something I can do.  Some time in the last week I had an image of my heart — it looked battered and bruised — it looked very like the wrinkled dark shell around the baby except that it was soft.
Right.  I have two vocations.  One is Neskaya and circle dance and the other is learning to love and patiently be present to the traumatized infant.

Napier: “Deep in your psyche, outside conscious awareness, is the urge to heal, to reclaim your whole self — to be free of the confines of a troubled and unprocessed past.” p24
Just opened to that passage.  It’s really helpful — something eases inside.  She also talks about that on the tape — the strength, the wholeness, the possibilities that are still there.  Yesterday, listening to a tape on creating safety, she talks about a safe place inside with a room where all the parts can gather together.  She talks about the “Future Self” which I think is also the Higher Self and for me that’s also the person who came so alive last summer. I see a room, almost a cave, with different levels and platforms and nooks.  The Future/Higher Self is sitting on a chair across from me, beaming love my way.  Napier talks about “Helper” parts and “Caretaker” parts who help take care of the younger parts.  I see two, dressed in green, helping care for the babies.  They are like Peter Pan or Puck.  There was also a Tinkerbell figure.  I’ll put on the Napier tape.  “There’s always room for every feeling …  Whenever a healing process is activated you are likely to feel a mix of feelings: relief and pain, anticipation and dread.”

Nancy Napier’s book Getting Through the Day: Strategies for Adults Hurt as Children has been an enormous help to me.  Her tapes as well.

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Theater Workshop

(Written in August 2008)
I want to think a little about what I didn’t get from the drama workshop.  I think I was wanting to celebrate my strength in getting as far as I have — it was the same impulse that led to the project of the Autobiography of a Shaman.  But to be able to see my strength, I also have to see the power of what I’ve been struggling with, and that’s largely invisible.  There really isn’t any way to dramatize it, to show it.  It could possibly be done in a movie, showing the world from the protagonist’s point of view — an ordinary street suddenly becomes a battlefield, cruel internalized voices are shown by ghostly characters — something like that.  Then of course the journal entries give a very clear picture of my internal world.  But within the context of the drama project, it just wasn’t possible to really tell my story.  So I put my own needs on hold and spent my energy supporting the other women and the project.  No wonder I collapsed afterward.

Talked to Kayla briefly about my disappointment with the theater project and how that might have triggered my tumble into depression.  She asked if the theater part was important in itself, or just as a vehicle for telling my story.  I realized that theater is very important to me, another big piece of my unlived live, another loss that I need to mourn.  I cried a little talking to Kayla and then again when telling Lynelle, but I think there’s still a lot of grieving to do.

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