Tag Archives: healing

Scapegoat

I’ve been exploring the concept of scapegoating. The information I’ve uncovered so far indicates the idea originates in the Bible, though I won’t be surprised if I discover pre-Christian roots to the practice.

Briefly, in Biblical times, two goats were chosen when the community felt it needed cleansing. One was a sacrificial goat, who was killed to appease the Divine. The other goat was symbolically laden with the so-called “sins” of the people and driven into the desert to die, thus eradicating all that sin.

Sigh. What a ridiculous coping mechanism. If only it was that easy! Eradicating real or perceived “sins” by assigning them to innocent animals and then killing them strikes me as immature, cowardly, impotent, and completely ineffective.

As an aside, in my experience those who thunder about the “sins” of others are the most destructive and guilty of all. Just ignore the man behind the curtain!

The role of a scapegoat seems to be essential to human society. We scapegoat individuals and we scapegoat groups. One of the reasons I’m more and more resistant to labels is that they support and feed our ability to scapegoat others. Scapegoating is the root of genocide.

Scapegoating is abusive, and it’s a psychological trick, a distraction, a projection and a manipulation. Worst of all, it’s dishonest.

It’s also, frequently, murder, by which I mean the deliberate destruction (or attempted destruction) of an innocent. Ironically, family systems that scapegoat children often choose the most sensitive, empathetic, loving and talented child (often the healthiest family member) and set out to begin a systematic long-term campaign of destruction of that child so that others within the family can avoid responsibility for their own lives.

Photo by Travis Bozeman on Unsplash

One can spend all day online exploring scapegoating. It’s depressing research. Those who are scapegoated have a horrendous experience of pain, isolation and rejection that frequently leads them into addiction and other self-harming behaviors, and cripples their ability to form healthy relationships, particularly with themselves, and make positive contributions. Many scapegoats do, in fact, go metaphorically out into the desert or wilderness and die.

But not all of them.

Let us not forget that of the two, the scapegoat is the one who survives. The sacrificial goat is out of time and out of choices, but not the scapegoat.

Photo by Jeremy Bishop on Unsplash

What happens when the scapegoat is spit upon, reviled, cursed and turned away, staggering and stumbling under everyone’s unacknowledged shadows, darkness, feelings and fears? What happens in the lonely black cold of the desert night, in the blazing, thirsty grit of the desert sun?

A long, slow death by inches from despair, isolation, thirst and hunger?

Do scapegoats meet other scapegoats, and if so, do they compare notes and experiences and support one another in surviving and healing, or do they, in their turn, scapegoat those they meet and perpetuate their own misery and damage?

OR do they meet an Angel, or another aspect of the Divine? Perhaps they reclaim and reanimate themselves. Maybe dreams and visions come to them. Maybe a fearsome Hag or an animal guide teaches them to find or create water in the desert. Perhaps a desert mouse or a scorpion appears and relieves the scapegoat of all that does not belong to it, either burying the toxic waste of others in the clean, hot sand of the desert or, better yet, sending the poison back to its source(s).

Perhaps scapegoats meet the Devil in the desert. Do you know the meaning of The Devil card in the Tarot? Authentic experience. Some people fear authentic experience more than anything else in the world, and they’ll do anything to silence, destroy or stifle it. Who is more feared or hated than the Whistle Blower, the One Who Tells Their Truth?

Maybe tribal shaming and exile are in fact a release from prison and a doorway to personal power. Maybe the desert has been waiting to embrace the scapegoat for an eternity, waiting with gifts and spirits and guides, waiting with wisdom, patience and healing.

When we flush the toilet, we don’t expect to see the contents again. Occasionally, something goes wrong and we do see the contents again! Very disconcerting. Imagine being a bearded patriarch with a paunch and a fine embroidered cloak of arrogance and entitlement. The beard hides a weak chin and the paunch hides a frightened, impotent, controlling personality that is unable to be wrong, learn or grow. In order to relieve the chronic stress of maintaining a pseudo self and constant unacknowledged fear, the patriarch symbolically loads a goat with all his unwanted psychological and emotional shadow and darkness (which he has just increased) and drives it away with rocks and blows.

Now imagine the goat returns some time later, strong and broad-shouldered. It dances in the moonlight on stardust hooves outside the city walls. Its thick, silky coat stirs in the desert wind. The twists and spirals of its horns gleam like marble sculpture. Free and unburdened, the scapegoat has become a wild, enduring, sensual creature of primal instinct and power.

The patriarch, by contrast, has become smaller, weaker, and more wretched.

I’ve reached two conclusions about scapegoats and scapegoating.

The first is that scapegoating doesn’t work. Not only is it ineffective, it’s weak, and, frankly, I’m embarrassed for those who engage in it. People who scapegoat others are only drawing attention to their own meagre hearts and intellect. They can’t meet their own gaze in the mirror; they prefer to displace and project their self-hatred, fears and feelings onto others.

The second conclusion I’ve reached is that the day we are driven into the desert from the gates of our loved ones or our homes as scapegoats may also be the day we are reborn into something fine and powerful, something wild and resilient and enduring.

Consorting with scapegoats. My daily crime.

Photo by J L on Unsplash

A Horse With No Name
America

On the first part of the journey
I was looking at all the life
There were plants and birds and rocks and things
There was sand and hills and rings
The first thing I met was a fly with a buzz
And the sky with no clouds
The heat was hot and the ground was dry
But the air was full of sound

I’ve been through the desert on a horse with no name
It felt good to be out of the rain
In the desert you can remember your name
‘Cause there ain’t no one for to give you no pain
La, la …

After two days in the desert sun
My skin began to turn red
After three days in the desert fun
I was looking at a river bed
And the story it told of a river that flowed
Made me sad to think it was dead

You see I’ve been through the desert on a horse with no name
It felt good to be out of the rain
In the desert you can remember your name
‘Cause there ain’t no one for to give you no pain
La, la …

After nine days I let the horse run free
‘Cause the desert had turned to sea
There were plants and birds and rocks and things
there was sand and hills and rings
The ocean is a desert with it’s life underground
And a perfect disguise above
Under the cities lies a heart made of ground
But the humans will give no love

You see I’ve been through the desert on a horse with no name
It felt good to be out of the rain
In the desert you can remember your name
‘Cause there ain’t no one for to give you no pain
La, la …

Songwriters: DEWEY BUNNELL© Warner

The Doll

Dolls, like clowns, have a long and powerful history of symbolic meaning for human beings. We think of most dolls now as playthings for children, but dolls have always been much more than toys.

Photo by Aimee Vogelsang on Unsplash

The old word for doll was “poppet,” related to the English word “puppet.” In many cultures, dolls were used for spiritual rituals and magic, and as oracles. They are perhaps most famous as tools of black magic, but were also used for healing, fertility, and romantic and protective spells. From the Far East to Africa to the Americas, dolls have been an important social instrument for centuries.

There exist in the world a small handful of haunted dolls, both in museums and collections and for sale on sites like eBay. Several horror movies have been inspired by famous haunted dolls, such as Robert and Annabelle.

As a child I didn’t have dolls, and didn’t want them. A toy doll to mother and care for was not nearly as much fun as a pet, of which we had an abundance, and nothing was as lovely a plaything for me as a book. Some things never change.

No, I didn’t have a doll until I was nearly 50 years old, when I decided I needed a very specific kind of doll for a very specific reason. Most traditional dolls were handmade out of whatever materials were available. As a child of the twentieth century, I went shopping online, trusting I would know her when I found her. I already knew her name.

Photo by Gary Bendig on Unsplash

I wanted a new doll resembling myself. I looked at hundreds of dolls, mostly hideous, plastic and cheap, trying to find good old-fashioned rag dolls or soft dolls. There are some, but they’re few and far between. Alas, there are no dolls depicting (ahem!) maturity. Most of them simper, lowering plastic eyelids over improbably shiny blue or brown eyes. They have equally shiny and synthetic hair and frilly clothes. It was a little like shopping for candy in the candy aisle during Halloween. Slick, artificial, patently synthetic color, all sugar and no substance. Certainly, I found no dolls with even one grey hair or crow’s feet around the eyes. I thought about making a dried apple doll, but it was a fleeting thought. For some reason, that wasn’t quite what I wanted.

I persisted until I found a plain rag doll with brown yarn hair tied into two bunches with ribbons and blue eyes. She wore a yellow dress and white felt shoes on primitive club-shaped feet.

I grew up doing all kinds of embroidery, cross stitch and needlework, but I never learned to use a sewing machine or do practical things like make clothing, so I had to ask for help to get more appropriate clothes made. I found a young woman who sewed and asked her to make my doll a pair of denim jeans and some kind of a top. I told her the doll was for a niece of mine who was something of a tomboy and a mountain kid. I didn’t want to admit the doll was mine.

Dolls are commonly used for therapy for adults and children. In my explorations, I’d run across the idea of working with one’s inner child many times, and I knew making a doll to represent oneself is a common therapeutic activity. As I’d never had any meaningful kind of relationship with dolls, this didn’t attract me.

Until it did. I’m not sure exactly why my interest in dolls changed at that particular point in my life. All I can really say is that I was suddenly ready to figure out if I could love myself. A doll seemed an obvious way to externalize the parts of me that felt so chronically unloved and unwanted. Beyond that, I really didn’t think. I just felt the need, and obeyed it.

When the clothes were ready (jeans, a T-shirt and a zippered sweatshirt), I dressed the doll and cut her brown yarn hair short. After spending most of my life with long hair, I’d recently cut mine, more as an act of rebellion and self-mutilation than anything else.

Photo by Rain Wu on Unsplash

I cut the doll’s hair with a mixture of anger, resentment and grief, and a strange thing happened. Instead of looking at her with loathing, I had the completely unexpected and spontaneous thought that the short hair was cute. It wasn’t ugly. It didn’t make her look like an old hag, used up, dried up, sexless and powerless. That’s what I saw when I looked in the mirror at myself, but when I looked at the doll I saw something else entirely. As a child I had begged to be allowed to have long hair. I was eventually allowed to, when I was old enough to care for it. This was reasonable, as my hair is thick, curly and unruly, to put it mildly. For years, though, as a slim, short-haired, active child in the same tough jeans my brother wore, I was taken for a boy.

Somehow, looking down at that helpless rag doll and the short ends of yarn scattered around her, it seemed I was looking at a version of myself that’s long vanished, except in memory, and I didn’t hate her. She wasn’t loathsome. She merely had short hair. I’d meant to hurt her, even mutilate her, but her innocence turned a hostile act into a reluctant feeling of wanting to protect her from any who would seek to hurt her, including myself.

This was a powerful moment. It was so powerful that I doubted myself. What would people say if they knew I’d bought myself a doll and lied about it in order to get the clothes I wanted for her? What would they think of me? What did it say about me, these feelings of self-hatred mixed up with an uneasy need to protect? Protect the doll from me? Protect the doll from others? Protect myself?

I was confused, embarrassed and compelled. I kept the doll with me as I moved around my little log cabin, not to handle, but just to look at. Occasionally, I talked to her, in the same way I talked to the cat I belonged to at the time.

Then, one day, something distressed me. I was trying to calm down and think more clearly, and I saw the doll, sitting propped on a table. I picked her up and held her against my shoulder, patting her back and swaying on my feet in the age-old motions of comforting a baby. I had worked for years with chronic and terminally ill children and their families as a young woman and then raised two kids of my own. I love and understand children, and the familiarity of holding one again made me weep.

I was also instantly comforted, as though I myself was being held in spite of my age and ugliness. I’ve been aware all my life of the longing to be safe, secure and loved in someone’s arms, a longing I rarely admit, always endeavor to bury deep, and feel much shame about. Something about holding the doll assuaged that longing. In a strange sort of way, I was holding myself, or at least some part of myself.

I can’t explain the neurophysiological effect of being able to hold and comfort my doll. Perhaps a neurologist or a good psychiatrist could. What I do know is that it’s been enormously and unexpectedly healing. The gnawing need for nonsexual physical reassurance and affection has been something I’ve learned to live with, never revealing it or expecting to have this need met. If I could not find it as a young, reasonably attractive woman, I’ll surely never find it now. I can’t hold myself, but I can hold my doll. I don’t always treat myself with unconditional love, but I can give that to my doll. In fact, I’m incapable of giving her anything else. I’ve always found it much, much easier to love others than myself. Loving others is a beautiful way to live, but it’s not always reciprocated or even recognized for what it is, and much of the love I’ve given has walked away from me, never to return. With the doll, somehow my love comes back into my own starving skin and heart.

Photo by freestocks.org on Unsplash

I’ve had the doll for about six years now. I’ve turned to her in times of fear, insomnia, emotional pain, panic attacks and PTSD. I’ve wept with her (and perhaps for her), rocked her, kissed her, practiced Havening with her, snuggled her and slept with her in my arms. Until now, I’ve kept her presence in my life a secret from all but one person. She’s been more useful to me than any psychological therapy or pharmaceuticals I’ve ever tried, with the single exception of emotional intelligence coaching.

I’m writing this post now because I thought it would be fun for Halloween, haunted dolls being a thing in our culture. As I write, however, I’m slightly sobered. I’m not prepared to debate whether haunted dolls or haunted anything else are “real.” The belief in such things is what fascinates me, along with the history of such objects, investigation into this kind of phenomena, and the way it captures our imaginations. What I will say is that if an object or person can be haunted or possessed, I would assume intense energy or emotion is associated with such possession.

It’s not hard for me to understand why dolls, like clowns, have so captured our imaginations. I’m quite certain that my doll is the most intimate object in my life. I would never want to see her in another’s hands. God forbid she ever takes it into her head to talk about my demons and vulnerabilities. I don’t mind if she wants to move around in my attic space, though, or even look out the windows, as other haunted dolls are alleged to have done.

Playing with my doll. My daily crime.

Lightning storm

Good and Bad

I’m in the middle of a conversation with a friend, who is a writer, about “good” and “bad.” Good and bad what, you ask? Good and bad writing. Good and bad singing. Good and bad cooking.

Photo by Ben White on Unsplash

The subject caught my attention because it evokes strong feelings, but I’ve been struggling for several days now to begin exploring it in writing with any kind of coherence. It seems ridiculously complicated, which is interesting and makes me even more determined to tackle it.

Sometimes the only thing I can do is start peeling the onion and see what happens, so here goes.

“Good” and “bad” are subjective descriptors. According to Oxford Online Dictionary, good is variously defined as “to be desired or approved of,” and “giving pleasure, enjoyable or satisfying.” Bad is “of poor quality or a low standard,” “not such as to be hoped for or desired; unpleasant or unwelcome.”

It seems to me “good” and “bad” are like “success.” Either we retain our power and define them for ourselves, in spite of external pressure, expectations, criticism or judgment, or we allow others to tell us what “good” and “bad” are. In the case of creative expression, like writing, singing and cooking, it’s impossible to please all the people all the time. Sometimes it’s impossible to please anyone.

Is that a goal of an artist, to please others? Certainly, up to a point. If I can’t interest an agent in my writing, it’s unlikely I’ll be published. If my writing is not deemed marketable, no agent will take me on.

Is marketable the same as “good?” Is popular the same as “good?”

Photo by Syd Wachs on Unsplash

Emphatically, no. I’ve read bestsellers that I thought were trash. I’m absolutely certain great writing exists that will never be discovered by the world. Some of my favorite authors are heavily criticized as being poor writers.

It seems to me “good” and “bad” boil down to opinion or preference. It might be an educated opinion, a well-respected opinion, or just a I-know-nothing-about-art-but-I-know-what-I-like opinion, but an opinion, even a majority opinion, is not a universal law.

Creative artists work from a mix of skills and inspiration. Some artists have the resources and access to become formally trained in the use of writing skills, musical skills or culinary skills, especially if they recognize their interest and/or aptitude for a particular artistic expression early in their lives.

Photo by Senjuti Kundu on Unsplash

Many others, including myself, may lack the resources, access or interest in such formal education and training, or may come to their art later in life. These artists are frequently autodidacts (self-taught people) who simply practice their art, whatever it is, because they must. They may or may not be as refined and elegant as those who obtain years of education and training, but they feel a passion or obsession for artistic expression that won’t be denied.

This mix of skill and inspiration is part of what makes the whole issue of “good” and “bad” so complicated. Skill is the ability to do something well. The definition implies that someone gets to decide what doing well means. Who decides that? Am I in charge of that, as the reader, concert-goer or diner, or are the writer, singer and chef the ones who define their artistic expression as well done?

As we create art, what are we focused on? Do we want to earn a living? Are we focused on competition—do we want to be number one? Are we determined to be famous? Rich? Successful? Influential? Professional? Validated? Perhaps, on the other hand, we have no expectation of living by our art, but artistic expression is a private joy, a sacred healing, an exercise in authenticity that keeps us rooted and grounded. Art is our prayer, our act of gratitude and hope, an expression of love for those around us, our love letter to life.

Photo by Brandon Wilson on Unsplash

As we consume art (read, listen, eat), what are we focused on? Perhaps we are collectors who are intent on investment and monetary value. Perhaps we love art because it inspires us; opens our hearts, minds and imaginations; or helps us manage our feelings. Maybe we’re avid readers, lovers of music, or lovers of fine cuisine. We may think of ourselves as “professional” or “successful” artists and thus feel qualified to judge and compare the work of others.

Calling a piece of writing, a song or a meal “good” or “bad” strictly in terms of a demonstration of skill, however, leaves out the heart and soul of creativity. Passion, inspiration and obsession cannot be taught. We might enjoy and admire the skill underpinning a technically perfect book or song or meal, but we’re not robots. Compelling art is not made from skill alone.

Photo by Quino Al on Unsplash

 

Art, at its best, breaks us open. It haunts us. It companions us. It provokes, challenges, explores, dares, admits, stuns, shocks, amuses, comforts, excites and enlarges us. “Good” and “bad” are far too unsophisticated and limited to describe the central power of creative expression. The skill of the artist might add to that power, but skill without the animating spirit of passion is merely a well-learned series of maneuvers.

What is art worth? What is the value of joy, of authenticity, of artistic expression that reflects a piece of our soul? Art, for me, is about an expression of human experience, inherently valuable, even sacred, in its truth and vulnerability. I’m not qualified to judge another’s expression of experience. I wouldn’t presume to do so. I wouldn’t dare.

In the end, I can only circle back around to my own power, my own intentions and integrity, and my own limitations. I’m not a formally trained writer. As a creator, I’m compelled to create. I know it’s part of what I’m here to do. It’s humbling and gratifying when others find value in my work, but even when I have no indication of that, I value it.

Writing provides me with a vehicle for managing feelings, deep healing, a bridge for connection, and an irresistible and fascinating personal challenge. How can I increase my skill? What can I learn? How can I become a better writer with every blog post and every page of my manuscript? How can I increase my confidence, courage and authenticity through writing? What’s the best I can contribute?

I don’t frame my creative work as “good” or “bad.” I do think about how to make it better. To that end, I gladly solicit and receive feedback from others, and several people in my life have made huge contributions to my skill, but at the end of the day I consider my own opinion of its value first, and I take neither praise nor criticism personally.

To create art is to be fully present. A piece of art is an invitation to be intimate with the artist and ourselves, an invitation to increase our empathy, respect and compassion, to reach out and clasp the experience of another human being.

Photo by David Hofmann on Unsplash

I’ve written before about the cultural pressure to make ourselves small in a myriad of ways. How many natural artists (every child) have been criticized, shamed, derided or otherwise amputated from their artistic expression, particularly if it’s in any way sensual? How many people walk around with soul hunger to create poetry; to dance, to make music and sing songs; to be artists, but deny themselves because they don’t think they’re good enough? How many people have made a creative offering or expression and been rejected, mocked or dismissed?

I believe if we want a better, healthier culture, those who want to play with words must play with words, those who want to play with paint must play with paint, every shower must have a singer, every piece of music a dancer, and every instrument an explorer.

Skill matters, depending on the artist’s intention and the audience’s perception. I suppose we can describe our perceptions of skills as “good” or “bad,” although I think we could come up with less subjective standards of measurement and recognize skill level as only a part of artistic expression.

Skill matters, but heart and soul matter more.

Making art. My daily crime.

Photo by Stephen Leonardi on Unsplash