Wanting to be wanted

When I was nine, we lived in Albuquerque, New Mexico. My mother, not an easy woman, thought I would never become a desirable catch, as I was too preoccupied with books. Her poking, prodding, and criticism did not work, so she enrolled me in a ballroom dance/etiquette course. As it happened, that same year, the University of New Mexico was mounting a production of Euripides’ “Medea”. They needed two nine-year-olds to play the sons, but it was thought that nine-year-old year old boys were too rowdy to take the discipline to be in a play like that, so they came to the dance class to pick two girls. I was one of them.

 I remember being fitted for the costume, being taught to walk like a boy and to scream like a boy. I did not know what the story was, but it was fun learning those things.

I finally saw the play all the way through the day of the dress rehearsal. I remember standing in the wings watching. The meaning of the play rolled down the aisle like a dark cloud and swallowed me as I realized she kills her sons. In a moment, I understood what role I was playing. I can remember the hair standing up on the back of my neck and the sinking feeling in the pit of my stomach.  

 I woke up the next day with a fever and by the end of the day, it was clear I had the measles. I missed the whole run of the play.

Fast forward many years to graduate school. Medea continued to fascinate me so I decided to write my dissertation about her. I was struck by how modern her situation seemed. Imagine Medea as a girl, star-struck by the hero, Jason. Her name means cunning or knowing. She is the niece of Circe, granddaughter of Helios, daughter of a king. A powerful woman, a priestess of Hekate. Yet, when she sees Jason, described as good-looking, tall with long blond hair, a Fabio of his day, she becomes infatuated. Jason represents the glory and civilization of Greece, adventure. In order to help him to survive the tasks given him by her father as the price for obtaining the Golden Fleece, she must choose love over duty. In turn, in order to secure her help, Jason swears to marry her. In choosing Jason, Medea breaks the tie to family and home to go with Jason to a land where he is hero and she a barbarian.

Jason wants her, needs her, in order to successfully complete his quest. He is willing to give her what she wants—that feeling of being wanted and a place to hide her power and control. In agreeing to marry Medea, Jason gains everything—his life, the Golden Fleece, his safe return as a hero. In one version of the play, the Nurse raises the important question: “Why must a woman seek a man who seeks his special gold?”. Men with this kind of commitment, more to their quest than to the woman, seem unlikely to match the devotion of a woman like Medea. But she feels wanted, needed and so surely, perhaps she thinks, he must be the one for her.

I hear variations of this story again and again in my office from smart, competent women who spend their days wanting to be wanted and being disappointed time and again. To a degree I lied it myself when I was a young woman. Too often the women seem to see themselves as trophies or dolls on the shelf and convince themselves that whoever chooses them must be the right one, because after all, he is choosing her. And too seldom see themselves as also in position to choose, not merely to wait until being chosen.

Following from Lacan, who asserted that women want to be wanted more than they want to be loved, women too often seek to be desirable rather than to be fully known. Polly Young-Eisendrath explores this “wanting to be wanted” not as the normal outcome of female development but as a problem in her book, Women and Desire: Beyond wanting to be wanted. 

She observes

“The compulsion to be desired and desirable undermines self-direction, self-confidence, and self-determination in women from adolescence through old age, in all our roles, from daughter to mother, from lover to wife, from student to worker or leader, whether or not the affliction is conscious.

Wanting to be wanted is about finding our power in an image rather than in our own actions. We try to appear attractive, nice, good, valid, legitimate, or worthy to someone else, instead of discovering what we actually feel and want for ourselves. In this kind of conscious or unconscious arrangement, other people are expected to provide our own feelings of power, worth, or vitality, at the expense of our authentic development. We then feel resentful, frustrated, and out of control because we have sacrificed our real needs and desires to the arrangements we have made with others. We find ourselves always wanting to be seen in a positive light: the perfect mother, the ideal friend, the seductive lover, the slender or athletic body, the kind neighbor, the competent boss. In place of knowing the truth of who we are and what we want from our lives, we become trapped in images.” (Young-Eisendrath, Women and Desire: Beyond Wanting to Be Wanted, p.3)

Sound familiar?

 

Do you have to want to change?

Remember this joke?

Q. How many psychiatrists does it take to change a light bulb?

A. None—the light bulb will change when it’s ready.

Well it is actually appropriate in talking about therapy.

How much does a person have to want to change in order to change at all? Basically nothing is going to happen as a result of therapy if the person doesn’t want to change. And it is a lot more complicated than it seems. Change is inherently destabilizing and uncomfortable, even when it seems highly desired. So there is a big difference between feeling you want to change and actually doing the changing.

I read somewhere that a famous guru when asked how to stop smoking said, “That’s easy. Don’t smoke the next cigarette.” All the work of therapy lies in that space between the question and the action. 

The pattern of beliefs and feelings we have about ourselves, built up over a lifetime often with roots in our earliest relationships and never really challenged by us create the prison we live in. We don’t realize is that this prison has only three walls and no bars keeping us in. We don’t realize this because we stand in the corner looking at the walls in front of us and believe that there is no way out. Therapy is, at least in part, the process of turning around and discovering that we can walk out of our prison. That process is not easy and it can take a very long time, but stripped to bare essentials, that is what we do in therapy.

So you decide one day to go to a therapist to see what she can do to help you. In therapy, no matter how much you may believe you are controlling your responses and behavior, over time your habitual ways of thinking and acting about yourself and your world show up. These are the stories you tell yourself about yourself; they make up your prison. As the therapist questions your habitual responses and views and challenges your ideas about yourself and the world, ever so gradually, you start to change — daring to be more open, to question what you have believed, to try new ways of behaving. It is slow and subtle. The therapist has to be both patient, caring and willing to challenge you, the patient, even make you uncomfortable or upset. And be able to not take personally the feelings you have toward her or him.   Gradually the story you tell yourself about yourself changes, not in kind but in degrees. The things that used to be self-defining recede a bit to allow other self-perceptions and beliefs to come to the fore. The more deeply ingrained the patterns, the longer it takes to change them.  

The therapist doesn’t DO anything. We listen, we offer observations in the form of interpretations, we may confront but we have no magic to make change happen. It is entirely possible to spend months or even years in therapy without changing at all. The hard work of making the change — or, to return to our famous guru’s recommendation, not smoking the next cigarette — is up to the patient. So why see a therapist? Because it is very difficult to see yourself clearly. Just as a camera cannot photograph itself except in reflection, the kinds of changes that are the heart of therapy need someone to serve as a mirror, as someone who can see and hear you without having an agenda about or for you, someone who can be caring and brutal. I can’t think of anyone I know who has done that without help, including myself.

Got questions about therapy? Leave a comment or email me using the form on the right, and I will do my best to answer. Please keep questions general rather than about your therapy or therapist.

How I Came to be a Jungian and What That Means for You

Two Chairs

 I entered private practice in the early 80s after my children were born. At first, I did a lot of school consultation and consultation to day care centers and to Head Start. But after my own children came along, I decided I no longer wanted to work with young children. 

In my mid-30’s I started to wonder what I really wanted to do when I grew up. I considered going to law school. Or becoming a nurse and then a nurse midwife. Or going to medical school. Or getting a degree in public policy. In the end I came back to my beginning — I knew I wanted to do psychotherapy with adults.

Graduate school and my first job had given me the bare minimum training to be able to sit in a room across from another person and listen. Which I started doing. And I began to read again about therapy. I would find a book that spoke to me and when I finished it, I would look at the bibliography and start reading those books. I read Freud and Jung and neo-Freudians and post-Jungians. My father had always told me I could learn anything I needed to know from books, and though he wasn’t right, that notion stood me in good stead as I read and read and read. I came to the material without prejudices so I read widely — everything from ego psychology to archetypal psychology. It was all fascinating to me. Of course some of what I read resonated more than others and I found myself drawn particularly to two areas — object relations and that branch of post-Jungian psychology that developed in England and influenced by object relations. I fell in love with Winnicott, Guntrip,  Balint and Samuels, Redfearn, Stevens Sullivan. I plowed my way through several volumes of Langs’ seminars.

Reading is fine and important. But no amount of reading can make anyone a better therapist. So I also sought both clinical supervision and personal analysis. I wanted supervision from therapists I knew to be better than me, more skilled, better trained, more experienced. And as Jungian analysts began to settle in Maine in the 80’s, I was able to find them. Between 1985 and 1998 I worked with three different Jungian analysts in supervision — one was quite classical, another embraced Langs’ therapeutic frame, and the third gave me the blend of psychoanalytic approaches and Jung that appealed to me.

Supervision is an important part of becoming a therapist. But personal therapy is even more important in my view. I had been in therapy in college and again in my mid-thirties. But what I wanted now was Jungian analysis. In 1986, a week before I turned 40, I started analysis with one of the first analysts to move to Maine, I worked with her for 3 years. I then started seeing another analyst, a man I ended up working with for 24 years. 

But why Jung, you ask? It is the focus on meaning that really works for me with Jung. Symptoms have meaning which for me is a liberating way to understand life and behavior. Far more useful for me than something rooted in pathology and a notion of illness.

Jungians frustrate me sometimes. Sometimes it becomes too airy and I used to get annoyed at how little in the Jungian literature there was on technique.  But the other side frustrates me too — with too much on technique and rules. Finding my own balance point in between has been a big part of my growth and development as a therapist.

I long ago lost count of how many books I have read on analysis and depth psychology in the last 40 years. And I continue to read, recently Barbara Stevens Sullivan’s The Mystery of Analytical Work: Weavings from Jung and Bion,  not an easy read but well worth the effort.

One of my supervisors told me we practice what we believe. So I came to be a developmental Jungian (that’s what Andrew Samuels calls that branch of post-Jungian practice that combines Jung and object relations) because it is what I believe, because it makes sense to me in some deep and fundamental way. If you could see me work, you would not likely see much difference between how I am in session with a patient and how Paul Weston of In Treatment  is or how most modern psychodynamically oriented therapists are. The difference lies more in how we view what we see, a difference not as great as some think, than it is in what we do. So, I practice what I believe.

Here are a few of the books that I read along the way that I have returned to more than once:

Barbara Stevens Sullivan: Psychotherapy Grounded in the Feminine Principle

Aldo Carotenuto: The Difficult Art

Andrew Samuels: Jung and the Post Jungians

Michael Balint: The Basic Fault

Harry Guntrip: Schizoid Phenomena, Object Relations and the Self

 

Now to what any of this means to you. If you decide to work with me, it helps for you to know that I am not an overnight sensation, that I have spent many years learning about and reflecting on what I do as a therapist and that I have also done my  own work in my personal therapy. The specifics of my theoretical orientation may be of interest to you but as we  sit with one another, they are not really important for you  all.

Knowing that I come from a depth orientation matters because we will not be focused so much on solutions but rather on meaning– what does it mean in the context of your life that this issue persists for you? or what is this dream trying to tell you about yourself and your life. 

As Sheldon Kopp put it, “The continuing struggle [in psychotherapy] was once described in the following metaphor by a patient who had successfully completed a long course of psychotherapy: ‘I came to therapy hoping to receive butter for the bread of life. Instead, at the end, I emerged with a pail of sour milk, a churn, and instructions on how to use them.’ “

 

Memory and Memoir

The image above is La Memoire by Rene Magritte

At this time of year we often think and  write about things we remember. So this is a good time to stop and think about memory itself.

I read a lot of memoirs. I remember discovering biographies when I was in 3rd grade — remember Landmark Books? I found them and began to eagerly read biographies of people like Clara Barton and Abraham Lincoln. But there weren’t many about women. In fact women’s lives seemed not to be deemed interesting until the women’s movement began to encourage women to speak in our own voices about our lives.

Among the many wonderful memoirs by women I have read in the last 25 years or so are:

Fierce Attachments by Vivian Gornick

A Chorus of Stones by Susan Griffin

Skating to Antarctica by Jenny Diski.

The Shadow Man by Mary Gordon

Devotion by Dani Shapiro

Memoir necessarily engages in the problem of memory. Is what is remembered what happened or a narrative created on a mesh of emotion, images, and sensations? Diski says, “Memory is not false in the sense that it is willfully bad, but it is excitingly corrupt in its inclination to make a proper story of the past.”

Jung tells us: “The function of memory, or reproduction, links us up with things that have faded out of consciousness, things that became subliminal or were cast away or repressed. What we call memory is this faculty to reproduce unconscious contents, and it is the first function we can clearly distinguish in its relationship between our consciousness and the contents that are actually not in view.” (CW 18, p.39)

Now here is an example from my own life that I believe is a memory —

I am old enough that when I was in elementary school, we had a Christmas pageant in school, complete with angels and shepherds and everything. I will always remember the pageant when I was in second grade.

In my class, the best reader was to be made the head angel and would read the Christmas story from the Gospel of Luke. Well, I *knew* I was the best reader because I was reading several levels ahead of everyone in my class. My nearest competitor, Martha S., was a good reader, but I knew she was not the best. So I was absolutely certain that the head angel position was mine.

Imagine my shock, my horror, my outrage when on the day when parts were assigned, it was not I who was to be head angel, it was to be Martha S.! In my mind, this was a terrible injustice. Here I was, the very best reader in the second grade and I was to be consigned to the ranks of the ordinary angels! As it happened, Martha was a very pretty little girl with long blonde hair while I was chubby and brunette so maybe Martha fit the picture of an angel better than I did. Outwardly I accepted this injustice and quietly took my place in the ranks of the angels.

My mother made my costume, complete with glittery wings and a halo. We rehearsed. And then came the day of the pageant.

Martha stepped one step in front of the ranks of angels and took a breath to begin her reading. And then, just one word ahead of her came another voice from the back of the angels, reciting the story perfectly word for word. Martha got flustered but I continued on. Yes, I had memorized the whole story. I knew I was the best reader.

To my mother’s great credit, she did not get angry or make me feel bad. And what I did became the stuff of a story my family told about me.

BUT — is what I remember what actually happened? I certainly wanted to be the head angel. And to this day, I still know the words to the story. But if we could talk with Martha S., would she remember it the way I do? Or is it a narrative developed to fit the story of myself that I was weaving, the story of a spunky little girl who could make things go her way?

The words “memoir” and “memory” come to us from the middle English/Anglo-French word memorie, and from the Latin memoria, derived from memor, which means “mindful.” Russell Lockhart in Words As Eggs: Psyche in Language and Clinic traces it also to an Indo-European root smer– — which in one form refers to grease and fat. How is memory connected to ‘fat’? Think about how difficult it is to get rid of fat. It sticks. It adheres. It won’t leave. It leaves traces. A memory is what sticks, what adheres in the mind. Memory is the fat of the mind. Related words that share the history of memoir include remember, commemorate, memorable, memento, and memorandum. The word mourn also shares its derivations. The same root that gave rise to memory gives rise to mourn. When someone has passed away or slipped away, we mourn that memory. When we are in mourning, we are deeply engaged with the memory of that person. Our mind is full of memories. We can only mourn through memory and with memory. We mourn for what we had and can now have only in memory.

Think about a vivid dream you have had. When you write, it becomes something other than the dream. It becomes a text, an adaptation of the dream, but the dream, consisting of images, cannot be fully and accurately captured in words. The same with memory. The experience remembered is not a record, faithful in every detail. The memory is particular to the rememberer. Even in a family, the same event can and often is recalled differently by parents and children, even by siblings.

A symptom is an untended memory. It is the voice of a forgotten or banished part of ourselves… Memory is the medicine of the psyche – even, and especially when the memories are dark. – George Callan

Bringing parts together

I used to have a section of this blog devoted to knitting. I am an avid knitter and always have multiple projects in process. Then someone suggested to me that I should focus just on professional material or maybe it was that I was feeling self-conscious. At any rate, I took down the knitting portion.

Then I remembered this quote from Marie Louise von Franz on knitting :

Everybody who has knitted or done weaving or embroidery knows what an agreeable effect this can have, for you can be quiet and lazy and also spin your own thoughts while working. You can relax and follow your fantasy and then get up and say you have done something! Also the work exercises patience…Only those who have done such work know of all the catastrophes which can happen — such as losing a row of stitches just when you are decreasing! It is a very self-educative activity and brings out feminine nature. It is immensely important for women to do such work and not give it up in the modern rush. (The Feminine in Fairy Tales, Spring Publications, 1972, p. 40)

She makes it clear to me that knitting, like painting or writing, has its place in this process of self-discovery that I am so much engaged in, for myself and with my patients.

Knitting, among other things, is one way I understand my work and my life. My office is at home, in the middle of my domestic life. I have a basket of yarn in my office — because I think it is beautiful. I also have there art supplies on the table I use when I attempt to paint.  I used to fantasize having a house that had a big kitchen with a fireplace and I would see my patients there, in front of the fire, sitting at the table and drinking tea. Because for me the kitchen is the place of transformation.  There are things in my professional life that I want to explore more deeply. But those things have grown out of ordinary life — aging, figuring out what it is to be a woman, working at my story, embodiment, dreams all of it.

When I was in my 20’s, in the heydays of second wave feminism, I always felt I had to hide my interest in things domestic. To acknowledge having a domestic life — cooking, knitting and the like — was all but a betrayal of what we women were striving for: to be taken seriously as thinkers and doers and not be relegated only to hearth and home. I don’t think my friends in graduate school then even knew I loved to cook or that I knitted and crocheted and sewed. And when I got married, it was a point of honor that I do half of the work around the house and not a bit more.

But that was then. And in the course of growing older and growing up more, I seem to have lost that need to split my life as I did. Maybe this is the gift of third wave feminism to women like me — that we can bring the parts of our lives together. And in mending the splits in our lives, perhaps we can move toward mending  splits in our husband’s and son’s lives as well.

As Jung says:

Individuation means becoming an “in-dividual,” and, in so far as “individuality” embraces our innermost, last and most incomparable uniqueness, it also implies becoming one’s own self. We could therefore translate individuation as “coming to selfhood” or “self-realization.” (C.G. Jung, CW 7, para. 266)

When we go into the woods

Into the woods

Starting therapy is a lot like going into the woods in fairy tales. We go together into territory that is both like and very different from ordinary daily life. But sometimes people are casually dismissive of therapy,  that it is just good listening and if friends could learn good listening skills, then therapy wouldn’t be necessary. Certainly listening empathically can and does provide catharsis and catharsis is an element of therapy. But it is only an element, not the whole thing.

When I enter a session with a patient I endeavor to do so without memory or desire — which is to say that any day as I meet with my  patient, I put away thoughts about this blog, about my husband’s latest project, about other patients, and about our last session with each other  and I prepare to meet her in the moment and without an agenda. I wait for her to begin and allow her to set the agenda for our time together. I follow the thread of her concerns and as I do so, bits and pieces of the other times we have met come to mind. I hear more of her themes and as we go along I am relating them to themes I have heard from others and what I know about such themes. I am aware of issues in her life that have led to her personality being structured as it is — this is a clinical piece where I touch into my database of experience with people who have similar histories and who have had the constellation of issues in their lives that she has has and what I know from more theoretical material as well.  I challenge a bit here, ask a question there, offer a suggestion, share a personal experience. I watch as we do our dance of of speaking and listening and I see when an interpretive arrow hits the mark and when it misses.

I am patient with hearing the same story told many times over the course of our work together and I listen for the subtle ways it changes as we explore the nooks and crannies of her life, how she begins to see herself in her life a bit differently and sees others a bit differently as well. The story in its basic outline remains the same but it changes as well in nuance and color and emphasis.

I bring to my work over 40 years of training and experience, many years of my own personal therapy, 10 or more years of supervision by masters in the field, and 70+ years of my life experience. I do not ask nor in any way expect my patients to reciprocate with me and listen to me and my issues. I have no agenda for what they should do. No subject is off-limits, including the full range of feelings they have about me.

What I do is well beyond empathic listening, though that is part of what I do. And while I agree that anyone benefits from being able to talk about feelings with an empathic listener, I do not think that listening alone is sufficient for dealing with a wide range of the things people bring into therapy. For some, it is about a corrective emotional experience, for others a chance to look at their lives with a person who is not entangled in that life and can be neutral, for still others it is where deep psychic wounds can be opened  so that they may heal. It is also a place where we can pay attention to dreams and symbols and archetypes and fantasies and discern the pattern of meaning in a life.

It is hard work. It is sacred work, I believe. 

What is the myth?

What is the myth?

It is often the case that at midlife and beyond  life calls us to look again at who we are, what we have done, what we believe in. This is prime time for discovering what is the story we have been living; as Jung put it — 

I asked myself, “What is the the myth you are living?” and found that I did not know. So…I took it upon myself to get to know “my” myth, an I regarded this as the task of tasks…I simply had to know what unconscious or preconscious myth was forming me.”

Human beings are narrative makers. We remember ourselves and our lives in stories — stories we tell our friends, family, strangers, ourselves. When a new patient comes to me, I say “tell me about yourself” and await the story of this person’s life and how it has brought her to me. And if we work together for some time, that story will change so that the story she tells at the end will be recognizable as hers but different in some ways from the tale told at the beginning.

“The universe is made of stories – not atoms” —   Muriel Rukeyser

So, we swim in a sea of stories — our own and those of the ones around us. And we shape our lives around the story we tell ourself is ours, the story that we live. Think of a person you no doubt know whose life could be summed up in the song title, “I would do anything for love” — can you begin to see the story he or she is living? And how might that person be able to change the course of the story, write a new chapter if only she knew it was what she is living?

“The story I am writing exists, written in absolutely perfect fashion, some place, in the air. All I must do is find it….” Jules Renard 

Exploring personal myth is one way to discover the story. 

In the last 20 years or so, a number of books have been written on the subject of personal myth. Of the lot of them, 2 stand out for me as better than the rest:

James Pennebaker: Writing to Heal — Pennebaker, a social psychologist, has done considerable work examining the healing potential of writing. 

Sam Keen & Anne Valley Fox: Your Mythic Journey —  this book encourages the reader, through writing and reflection using question drawn from the work of Joseph Campbell, to uncover our story and explore its meaning.

I am never entirely happy with self-help books. In order to appeal to a large audience, in my view, they lose bite in favor of what is palatable and likely to engage masses of readers, rather the same way that the food from Taco Bell is suggestive of Mexican food but lacks the complexity and range of real Mexican food. So think of these books as a way to do personal myth, lite. Digging into one’s life, looking at Shadow as well as Persona, takes time. Plus all of us are at best reluctant to look into the corners and under the rocks where our darker or less acceptable aspects lurk. That said, these books offer a palatable way to begin to look at personal myth and may whet appetite for looking deeper.

Memory and Magritte

I first saw Magritte’s “La Memoir” or “Mnemosyne” on a book jacket 20 or more years ago. She is an arresting image, Memory with a wound to her head. Is it memory bleeding out? Will memory be lost if the wound is not bandaged and the blood flow stopped? Or does she show the wound to the head that any of us has from one or another childhood insult or injury? Does the effort to re-member heal the wound and thus stanch the bleeding? Save the memory? And what about the bell and the leaf — are they bits of memory? Has she forgotten? Did she ever know? Are we all surrounded by artifacts of memory that if we can only see them will allow memory to heal?

With Magritte’s Mnemosyne, we can consider the possibility that the blood is an image, a  memory, memory sticking the colorless face of the woman, the only sign of life we see of her.  As mother of the Muses, Mnemosyne would give birth to spontaneous impulses toward speech, song, art, dance, poetry, and other manifestations rendering the numinous visible and experiential — not just spoken of but enacted, enacted here in the splash of red on her head.

Think about a vivid dream you have had. When you write, it becomes something other than the dream. It becomes a text, an adaptation of the dream, but the dream, consisting of images, cannot be fully and accurately captured in words. The same with memory. The experience remembered is not a record, faithful in every detail. The memory is particular to the rememberer. Even in a family, the same event can and often is recalled differently by parents and children, even by siblings.

Knitting and Memory

An excerpt from my book, The Fat Lady Sings.

I am a knitter. We knitters come in two basic types. The project knitter buys yarn and pattern for a specific project and knits that and only that until it is finished. Process knitters knit to knit. We love to look at, touch, and acquire yarn and usually have several projects going at the same time. The finished project is nice but it is the process, the knitting itself, that is engaging. Sometimes the project is never completed or it is unravelled and the yarn used again for something else. I love the feel of the yarn as it slides through my fingers as I knit. I stop frequently and pull the fabric into shape and touch it and look at it and enjoy the color and shape. Knitting a sock, knit from top to toe with a single thread which is never broken, I marvel at the genius of the first person who figured out how to “turn the heel” and change the sock from a simple tube into something which hugs the form and shape of the human foot. These days I knit a lot of lace, knit with fine thread on small needles with intentional holes, for lace without holes is not lace at all.

Some years ago I dreamed:

I am in my analyst’s office talking with him.  I am knitting as I talk. I’m making a large deep purple shawl, something to wrap myself in to keep me warm.  I see a hole, a place where I made a mistake and I know I will have to take out several inches of work to get to it and fix the error, that a short cut won’t work.  He says this work is like that.

In the dream, I am working with beautiful deep purple yarn. The yarn is deep rich purple, my favorite color. Purple – the color of the vestments of Lent, a color of mourning. Purple, “the red of passion balanced by the blue of reason, or the real by the ideal, or love by wisdom, or earth by heaven, or, psychologically, the union of opposing energies within an individual.”(The Book of Symbols, p.694) The color of royalty. The color of an ancient dye made by the Phoenicians from the sea snail. The color of grapes and lavender and wisteria and iris and violets. Purple is the color of the Crown chakra. “…the highest and most sacred values are represented by purple.”((The Book of Symbols, p.694

I had a large quantity of this very yarn for some time, a soft and elegant yarn 100% cashmere, almost unimaginably soft to the touch. Lustrous and rich in feel and color. I had the yarn but couldn’t find the right pattern, couldn’t find what it wanted to be. I would look at it on the shelf with my cones of beautiful yarns and try to feel, to imagine what it should become.  Then I had the dream, a dream about the purple yarn, analysis and my efforts to create something I can wrap myself in, something warm and soft. In the dream, I pause in my knitting to look at the fabric and see, several inches below where I am working, a hole, not a hole belonging to the pattern but a large hole, a hole which distorts the lace. 

I am not a perfectionist with my knitting. When I find an error, I don’t often rip out work I’ve done. I try to find some relatively easy way to fix it, to cover the error so no one will notice. But this hole in the shawl I am making from this yarn is one I cannot ignore or overlook. The knitter’s adage that if a mistake can’t be spotted by a man galloping by on horseback, then it needn’t be repaired just doesn’t apply for this hole. In the dream, I know I will have to rip out several inches of knitting. Many lace knitters use safety lines, a contrasting yarn threaded through the stitches every few inches making ripping back easier. They rip back to the safety line and needn’t fear losing stitches because they will be held by the line. I work without such a line. When I rip back, I must move slowly, stitch by stitch, paying as much, even more attention to the unknitting as I do to the knitting. Slow and painstaking work,

Some time after the dream, a designer who created wonderfully intricate patterns which usually feature a lot of beads, announced a new design, one she called “In Dreams”. And it was to be done in a mystery knit-along, with sections of the pattern made available every two weeks over a span of three months. As soon as I learned of it, I knew this was the project for this yarn. I had no picture to tell me what the final shawl would look like, only that it would be a semi-circle and have many beads. I had to be willing to knit each part as it became available and trust that the finished design would be pleasing to me and would suit my purposes. 

I began. I completed the first section. But the beads were wrong, too large and not the color I wanted. So, I ripped it out and began again. This time a significant error appeared right near the beginning. Ripped it out again. Finally I completed the first clue and began the second. The work goes along without incident until near the end of the clue, when I discover an error. I have to slowly and tediously take out several rows, nearly an inch of work. I must pay careful attention as I come to each beaded stitch lest I lose the beads, and there are nearly 100 of them, tiny beads, in each row in this section. I fix the error and then discover I have made it again, in the same place. Three times I have to unknit that inch of work, three times I have to work not to lose a bead or drop a stitch. Finally, on the fourth attempt I succeed in completing the pattern section. There are five more sections yet to come. And then another large error. I have to rip it out again. This is not smooth going.

I used to knit sweaters, for me, for my children, for my husband. And afghans. Then for a long time I mostly knit socks. These days I am drawn to knitting lace, the more intricate the design, the larger the stole or shawl, the better. What does it mean that I want only to knit designs with deliberate holes in them? Donald Kalsched tells us, “Memory has holes.” In my dream I am knitting a lace shawl as I do in waking life after the dream. In the midst of the intentional holes which shape the pattern of the lace appears a misplaced hole, a mistaken hole. Memory has holes, holes which both shape the pattern and disrupt it, as in my dream.

The word “memory” comes to us from the middle English/Anglo-French word memorie, and from the Latin memoria, derived from memor, which means “mindful.” It comes from an Indo-European root smer– — which in one form refers to grease and fat. How is memory connected to ‘fat’? Think about how difficult it is to get rid of fat. Russell Lockhart writes,  “It sticks. It adheres. It won’t leave. It leaves traces. A memory is what sticks, what adheres in the mind. Memory is the fat of the mind.”(Lockhart,Word as Eggs, p.188)  Related words that share the history of memory include remember, commemorate, memorable, memento, and memorandum. The word mourn also shares its derivations. The same root that gave rise to memory gives rise to mourn. Lockhart continues: “When someone has passed away or slipped away, we mourn. When we are in mourning, we are deeply engaged with the memory of that person. Our mind is full of memories. We can only mourn through memory and with memory. We mourn for what we had and can now have only in memory.” Memory, mourning and fat.

I pick up what I have been knitting and it contains memory. I see what the day was when last I knit on this piece. My hairs get knitted into the fabric as do my cats’ hairs. The daydreams dreamed, the worries worried, the interior dialogues are all there, part of the fabric that I knit. Each piece carries my life knit into it, its fabric also the fabric of my memory. I am knitting lace. I am doing analysis. There I am working on knitting the lace of my life, repairing holes that don’t belong, trying to work out the pattern.

Note: I intended to include a photo of the finished purple shawl. Alas, when I dug it out, I discovered it had been heavily damaged by moths so that it is now filled with many many unwanted holes. All that remains to show its complexity is this shot of one part of the design.