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THE UNIVERSE IN VERSE (APRIL 23, NYC)

The Universe in Verse — the annual celebration of science through poetry I host at Pioneer Works — returns with a very special edition: This year’s show, benefiting Pioneer Works’ endeavor to build New York’s first-ever public observatory, celebrates the 100th anniversary of Sir Arthur Eddington’s historic eclipse expedition to Africa, which confirmed relativity and catapulted Einstein into celebrity. “Dear Mother, joyous news today,” Einstein wrote upon receiving word of the results, which revolutionized our understanding of the universe and shaped the course of modern physics. The scientific triumph was also a heartening, humane moment—just after the close of World War I, a pacifist English Quaker, who had refused to be drafted in the war at the risk of being jailed for treason, and a German Jew united humanity under the same sky, under the deepest truths of the universe. An invitation to perspective in the largest sense.

Join us for an evening of poems and stories about eclipses, relativity, spacetime, and Einstein’s legacy, featuring readings by musicians David Byrne, Regina Spektor, Amanda Palmer, Emily Wells, and Josh Groban, astrophysicists Janna Levin and Natalie Batalha, poets Elizabeth Alexander and Marilyn Nelson, actor Natascha McElhone, theoretical cosmologist and jazz saxophonist Stephon Alexander, comedian Chuck Nice, choreographer Bill T. Jones, and On Being host Krista Tippett, with some thrilling surprises in wait.

After the show, the Amateur Astronomers Association of New York will be hosting telescopic stargazing in the spring-kissed garden outside.

Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231

Doors: 6PM
Show: 7-9ish PM
General admission. Seating is first come, first served.

TICKETS: SOLD OUT

If you appreciate this many-hearted labor of love, please consider helping us build a dome of possibility for future Eddingtons and Einsteins by making a donation. The Universe in Verse itself, the production of which takes me innumerable hours and thousands of dollars each year, exists entirely thanks to donations from readers.

RECORDINGS OF PAST EVENTS

CELEBRATING “A VELOCITY OF BEING” (December 15, 2018)

After eight years of labor, I was thrilled to birth A Velocity of Being: Letters to a Young Reader, published in collaboration with my good friend Claudia Bedrick of Enchanted Lion Books — a collection of original illustrated letters to children about why we read and how books shape our character by 121 of the most interesting people in our world, including contributions by Jane Goodall, Yo-Yo Ma, Ursula K. Le Guin, Mary Oliver, Neil Gaiman, Amanda Palmer, Jacqueline Woodson, Rebecca Solnit, Elizabeth Gilbert, Anne Lamott, Shonda Rhimes, a 98-year-old Holocaust survivor, Italy’s first woman in space, and other remarkable humans living inspired and inspiring lives. (More about the book here, including a peek at the art by some of the most beloved children’s books illustrators of our time.)

On December 15, 2018, several of the contributors joined me to read their letters (and play some music) alongside art from the book in a special evening at The New York Public Library — our only live event for the book, at the most fitting venue for this many-peopled endeavor of goodwill, for we are donating 100% of proceeds from the book to our local public library system in New York.

Readings by Adam Gopnik, Janna Levin, Jad Abumrad, Amanda Stern, Alexander Chee, Sarah Kay, Paola Antonelli, Mariahadessa Ekere Tallie, Mohammed Fairouz, William Powers, Naomi Wolf, Paul Holdengräber, Sophie Blackall (reading Neil Gaiman’s letter), and Helen Fagin, and music by Dawn Landes and Morley, who also read their letters from the book.

THE UNIVERSE IN VERSE (APRIL 28, 2018)

In the spring of 2018, after the improbable success of the inaugural show in 2017, I once again joined forces with Pioneer Works and The Academy of American Poets to host The Universe in Verse — an evening of science-inspired poems read by artists, writers, scientists, and musicians, part protest and part celebration, with all proceeds benefiting the Natural Resources Defense Council.

“The real wealth of the Nation,” marine biologist and author Rachel Carson wrote in her courageous 1953 protest letter, “lies in the resources of the earth — soil, water, forests, minerals, and wildlife… Their administration is not properly, and cannot be, a matter of politics.” Carson’s legacy inspired the creation of Earth Day and the founding of the Environmental Protection Agency, whose hard-won environmental regulations are now being undone in the hands of a heedless administration. Carson was a scientist who thought and wrote like a poet. As she catalyzed the modern environmental movement with her epoch-making 1962 book Silent Spring, she was emboldened by a line from a 1914 poem by Ella Wheeler Wilcox:

To sin by silence, when we should protest, makes cowards out of men.

Rachel Carson (Beinecke Rare Book & Manuscript Library)

Dedicated to Rachel Carson’s legacy, the 2018 show was a sort of prelude to Figuring. More than a thousand people packed in to celebrate the Earth — from the oceans and trees and volcanos to bees and kale and the armadillo — with poems by Maya Angelou, Adrienne Rich, Emily Dickinson, Edna St. Vincent Millay, Lucille Clifton, Elizabeth Bishop, Denise Levertov, Walt Whitman, and more, read by musicians Amanda Palmer, Zoe Keating, and Sean Ono Lennon, astrophysicists Janna Levin and Natalie Batalha, authors A.M. Homes and James Gleick, poet Terrance Hayes, artist Maira Kalman, bryologist Robin Wall Kimmerer, and actors, writers, and directors America Ferrera and John Cameron Mitchell. Three of the great poets of our time — Jane Hirshfield, Marie Howe, and Diane Ackerman — will read their own work. Gracing the evening was an original poem by Neil Gaiman, composed for the occasion, and a special musical surprise.

Find the complete show and the full poem playlist below:

  1. “A Brave and Startling Truth” by Maya Angelou, read by Janna Levin
  2. “Sojourns in the Parallel World” by Denise Levertov, read by America Ferrera
  3. “The World Below the Brine” by Walt Whitman, read by John Cameron Mitchell
  4. “Renascence” by Edna St. Vincent Millay, read by Natalie Batalha
  5. “The Fish in the Stone” by Rita Dove, read by Zöe Keating
  6. “At the Fishhouses” by Elizabeth Bishop, read by James Gleick
  7. “cutting greens” by Lucille Clifton, read by Terrance Hayes
  8. “Singularity (for Stephen Hawking)” by Marie Howe, read by the poet herself
  9. “The Explorers” by Adrienne Rich, read by A.M. Homes
  10. “Optimism” by Jane Hirshfield, read by Jane Hirshfield and animated by Kelli Anderson
  11. “Cosymbionts” by Vicki Graham, read by Robin Wall Kimmerer
  12. “[bee]” by Emily Dickinson, read by Maira Kalman
  13. “The Consolation of Apricots” by Diane Ackerman, read by the poet herself
  14. “The Devil Teaches Thermodynamics” by Roald Hoffmann, read by Sean Ono Lennon
  15. “After Silence (for Rachel Carson)” by Neil Gaiman, read by Amanda Palmer
  16. FINALE: “Big Yellow Taxi” by Joni Mitchell, arranged by Amanda Palmer and performed by The Decomposers: Amanda Palmer (vocals), Zöe Keating (cello), Sean Ono Lennon (guitar and vocals), and John Cameron Mitchell (vocals)

THE UNIVERSE IN VERSE (APRIL 24, 2017)

“When power corrupts, poetry cleanses,” John F. Kennedy famously wrote. Half a century later, with art, science, and the humanities under assault from the government, this intersection of science and poetry, truth and beauty, is an uncommon kind of protest and a singularly fertile frontier of resistance.

On April 24, 2017, I joined forces with the Academy of American Poets and astrophysicist Janna Levin to host The Universe in Verse at Pioneer Works in Brooklyn — an evening of poetry celebrating great scientists and scientific discoveries, with all proceeds benefiting the Academy of American Poets and the Natural Resources Defense Council.

Readings by: Amanda Palmer, Rosanne Cash, Janna Levin, Elizabeth Alexander, Diane Ackerman, Billy Hayes, Sarah Jones, Tracy K. Smith, Jad Abumrad of Radiolab, Sam Beam of Iron & Wine, and Brandon Stanton of Humans of New York.

Poems about: Marie Curie, Isaac Newton, Caroline Herschel, Oliver Sacks, Jane Goodall, Euclid, black holes, the Hubble Space Telescope, the number pi, and more.

Poems by: Adrienne Rich, Wisława Szymborska, Elizabeth Alexander, Tracy K. Smith, Campbell McGrath, Diane Ackerman, Edna St. Vincent Millay, and John Updike.

Find the complete show and the full poem playlist below:

  1. “Planetarium” by Adrienne Rich, read by Janna Levin
  2. “My God, It’s Full of Stars” by Tracy K. Smith, read by the poet herself
  3. “Power” by Adrienne Rich, read by Rosanne Cash
  4. “The Venus Hottentot” by Elizabeth Alexander, read by the poet herself
  5. “Cosmic Gall” by John Updike from, read by Brandon Stanton
  6. “We Are Listening” by Diane Ackerman, read by the poet herself
  7. “On the Fifth Day” by Jane Hirshfield, read by Emily Levine
  8. “For Oliver’s Birthday, 1997” by Steven Jay Gould, read by Billy Hayes
  9. “Euclid Alone Has Looked” by Edna St. Vincent Millay, read by Sam Beam
  10. “Jane Goodall (1961)” by Campbell McGrath, performed by Sarah Jones
  11. “The Habits of Light” by Anna Leahy, read by Ann Hamilton
  12. “Address: The Archaeans, One Cell Creatures” by Pattiann Rogers, read by Jad Abumrad
  13. “Pi” by Wisława Szymborska, read by Maria Popova
  14. “The Mushroom Hunters” by Neil Gaiman, read by Amanda Palmer
BP

Rosanne Cash on Creative Heritage, the Bravery of Befriending Our Roots, and What Her Father, Johnny Cash, Taught Her About Artistic Integrity

“Like everything else, given enough time and the long perspective, the opposite of those things that we think define us slowly becomes equally valid and sometimes more potent.”

Rosanne Cash on Creative Heritage, the Bravery of Befriending Our Roots, and What Her Father, Johnny Cash, Taught Her About Artistic Integrity

“When you come right down to it, how much of that was free will?” young Sylvia Plath pondered in her diary as she looked back on the turning points that had taken her to where she was in life and considered what makes us who we are. This puzzlement is far from uncommon — who hasn’t wondered on a sleepless night or mid-stride on a busy city sidewalk how much of our lives are self-chosen and how much determined by our culture, our circumstances, our conditioning, and even our biology?

This question, which most mercilessly bedevils those who walk the nonlinear path of the creative life, is what Grammy-winning singer-songwriter Rosanne Cash tussles with throughout Composed: A Memoir (public library) — a beautiful chronicle of her life in music and her relationship with her legendary father, Johnny Cash, ripe with insight into the artistic process and the psychological thrills, terrors, and tumults of the creative life.

Rosanne Cash (Photograph:  Deborah Feingold
Rosanne Cash (Photograph: Deborah Feingold)

Cash writes:

My life has been circumscribed by music. I have learned more from songs than I ever did from any teacher in school. They are interwoven and have flowed through the most important relationships in my life — with my parents, my husband, and my children… Many of my own songs have taken the long way around, as I circled the edges of an experience … constantly roaming and constantly curious.

I dream of songs. I dream they fall down through the centuries, from my distant ancestors, and come to me.

Pioneering anthropologist Margaret Mead drew a distinction between our biological ancestors and our “spiritual and mental ancestors” — the cultural, creative, and intellectual lineage from which we spring beyond our immediate genetic kin, those who seed our inspirations and beliefs and frames of reference. But for Cash, these two types of ancestry have always been deeply entwined. She reflects:

I belong to an extended family of musicians whose members sprawl across generations. Some occupy positions of great acclaim (my father and my stepmother’s family, the Carters), some have modest but respectable careers marked by persistence and hard work (my uncle Tommy Cash), while others never made it much further than anecdotal obscurity (my maternal uncle “Wildman” Ray Liberto, a onetime raucous honky-tonk piano player with a handlebar mustache), and some are just embarking (my daughter Chelsea). At sixteen I did not intend to take my place among them. Tradition was anathema to me; I understood that any real rebellion in which I could engage would involve taking a nondomestic, or artistic but nonmusical, path.

And yet she concedes:

Traditions can take root out of the dormant impulses of one’s own soul, if they are powerful enough, whether we acknowledge them or not.

This, indeed, was her own experience — something significant shifted for Cash in her late teens and soon the awareness of this dual heritage awakened in her the longing for a life of and in music. In the summer of 1973, just after she graduated from high school, her father handed her a list in the back of his tour bus. It contained one hundred songs he considered essential to the corpus of country music — knowledge he thought necessary for his daughter to have if she was serious about becoming a roots musician.

Many years later, when a brain surgery and the trauma of her parents’ deaths left Cash bereft of a solid center, she set out to reconnect with her roots by recording her own interpretations of twelve of the songs on her father’s list in what became her magnificent covers album, The List.

Rosanne Cash and Johnny Cash (Photograph: Annie Liebovitz)
Rosanne Cash and Johnny Cash (Photograph: Annie Liebovitz)

With an eye to the burdens and blessings of her father’s inescapable presence, Cash reflects on what it was like to spend her life locked in “an exhausting dance with his legacy” while trying to be, and very much succeeding in being, her own person and a thoroughly original musician. (In October of 2015, she was inducted into the iconic Nashville Songwriters Hall of Fame — an honor equivalent to the Nobel of songwriting.) She writes:

He cast an obviously large shadow, and it was hard for me to find my own place outside of it, or to be comfortable when the shadow was the first thing people noticed about my life or my work.

[…]

In the fullness of that legacy, I am still first and foremost a songwriter. The curatorial work and the deliberate attention on my voice rather than my words, which happened with The List, has only added to my sense of honor as a songwriter and respect for the art and discipline.

Indeed, the idea of singing someone else’s songs might have been odd for Cash, who identifies first and foremost as a songwriter, had she not learned long ago from her father that there is always a deeper dialogue taking place within the music, beyond the singing itself. In a reflection with parallel resonance to almost every kind of creative work, she writes:

It’s not just the singing you bring home with you. It’s the constant measuring of ideas and words if you are a songwriter, and the daily handling of your instrument if you are a musician, and the humming and scratching and pushing and testing of the voice, the reveling in the melodies if you are a singer. More than that, it is the effort to straddle two worlds, and the struggle to make the transition from the creative realms to those of daily life and back with grace. My father did all of those, as a habit of being. He provided a template for me, of how to live with integrity as an artist day to day.

This devotion to artistic integrity stayed with Cash as her career took off and she felt herself pushed one way by the Rube Goldberg machine of achievement, pulled another by her creative integrity. She resisted the conformity steamroll of success and chose the internal and eternal rewards of the creative process instead — a commitment that coalesced into conscious awareness after one particularly prophetic anxiety dream Cash had just as she was setting out to record her sixth album, King’s Record Shop. She recounts the values to which the dream awakened her:

I resisted the push to conform, to buy into a certain narrow aesthetic, and to become part of the established hierarchy. I didn’t want a lofty perch; I wanted to be in the trenches, where the inspiration was.

[…]

I started paying attention to everything, both in the studio and out. If I found myself drifting off into daydreams — an old, entrenched habit — I pulled myself awake and back into the present moment. I opened my eyes and focused. Instead of toying with ideas, I examined them, and I tested the authenticity of my instincts musically. I stretched my attention span consciously. I … went deeper into every process involved with writing and musicianship. I realized I had earlier been working only within my known range — never pushing far outside the comfort zone to take any real risks. I had written songs almost exclusively about romance and all the attending little dramas of loss and lust. It was legitimate, certainly, but only one small mode of transportation over a vast landscape of experience that might be fodder for whole new categories of songs. I started painting, so I could learn about the absence of words and sound, and why I needed them, and what I actually wanted to say with them.

[…]

Everything seemed new, frightening, and tremendously exciting. I had awakened from the morphine sleep of success into the life of an artist.

Four of the songs on King’s Record Shop became number-one singles. No woman in the industry had ever achieved this before, but the record’s ultimate reward for her was something far more significant. She recounts:

Although it was my sixth album, I felt like a beginner, and I was relieved and grateful for the chance to start over, to go deeper into sound and texture, language and poetry, and the direction of my own instincts.

But as rooted as she may remain in the past — in her personal and cultural heritage — Cash conceives of the creative process as largely a matter of writing oneself “postcards from the future.” She reflects on the nature of creative work and how her own orientation toward it changed as she grew older:

Creative work sometimes fosters a prescience — not a psychic premonition, but rather a release from linear time, a fluidity of movement on the continuum.

[…]

Sometimes songs are indeed postcards from the future, and are not written out of prescience as much as time travel. Thornton Wilder said, “It is only in appearance that time is a river. It is rather a vast landscape and it is the eye of the beholder that moves.” In songwriting, I have found my attention to wander both forward and backward on that continuum. But with or without prescience, considering only the hard-earned craftsmanship of songwriting, as I get older I have found the quality of my attention to be more important, and more rewarding, than the initial inspiration. This maturation in songwriting has proven surprisingly satisfying. Thirty years ago I would have said that the bursts of inspiration, and the ecstatic flood of feeling that came with them, were an emotionally superior experience, preferable to the watchmaker’s concentration required for the detail work of refining, editing, and polishing. But the reverse is proving to be true. Like everything else, given enough time and the long perspective, the opposite of those things that we think define us slowly becomes equally valid and sometimes more potent.

Complement Composed with Joni Mitchell on creativity and the dark side of success, Amanda Palmer on art and our lifelong quest to feel real, Bob Dylan on sacrifice and the unconscious mind, and beloved writers on the singular power of music, then treat yourself to Cash’s elevating On Being conversation with Krista Tippett:

Creativity and spirituality [are] the same thing to me.

BP

Neuroscientist Sam Harris on Our Misconceptions About Free Will and How Acknowledging Its Illusoriness Liberates Us Rather Than Taking Away Our Freedom

“Understanding this truth about the human mind has the potential to change our sense of moral goodness and what it would mean to create a just society.”

Neuroscientist Sam Harris on Our Misconceptions About Free Will and How Acknowledging Its Illusoriness Liberates Us Rather Than Taking Away Our Freedom

“When you come right down to it, how much of that was free will?” teenage Sylvia Plath pondered as she looked back on her life-choices in reflecting on what makes us who we are. “Before we raise such questions as What is happiness, what is justice, what is knowledge, and so on,” Hannah Arendt argued a quarter century later in her intellectually exquisite 1973 inquiry into what free will really means, “we must have seen happy and unhappy people, witnessed just and unjust deeds, experienced the desire to know and its fulfillment or frustration.” Another generation later, cosmologist Janna Levin captured our confusions about free will perfectly in her conversation with Krista Tippett: “If I conclude that there is no free will, it doesn’t mean that I should go run amok in the streets. I’m no more free to make that choice than I am to make any other choice.”

The nuances, complexities, and misconceptions surrounding the question of free will are what neuroscientist Sam Harris examines in his book Free Will (public library) — an elegant case for why, rather than disempowering us by taking away our freedom, letting go of the idea of free will liberates us from the weight and pressure of the ego, thus expanding our capacity for compassion and our sense of what Diane Ackerman so poetically called “the plain everythingness of everything, in cahoots with the everythingness of everything else.”

Sam Harris (Photograph: Bara Vetenskap)

Harris writes:

The question of free will touches nearly everything we care about. Morality, law, politics, religion, public policy, intimate relationships, feelings of guilt and personal accomplishment — most of what is distinctly human about our lives seems to depend upon our viewing one another as autonomous persons, capable of free choice. If the scientific community were to declare free will an illusion, it would precipitate a culture war far more belligerent than the one that has been waged on the subject of evolution. Without free will, sinners and criminals would be nothing more than poorly calibrated clockwork, and any conception of justice that emphasized punishing them (rather than deterring, rehabilitating, or merely containing them) would appear utterly incongruous. And those of us who work hard and follow the rules would not “deserve” our success in any deep sense. It is not an accident that most people find these conclusions abhorrent. The stakes are high.

This wonderful cinematic adaptation of a talk Harris gave based on the book synthesizes the challenge and the payoff of relinquishing the illusion of free will:

The illusoriness of free will is as certain a fact as the truth of evolution, in my mind. And, unlike evolution, understanding this truth about the human mind has the potential to change our sense of moral goodness and what it would mean to create a just society.

The question of free will touches nearly everything people care about: religion, public policy, politics, the legal system, feelings of personal accomplishment, emotions like guilt and pride, and remorse. So much of human life seems to depend on our viewing one another as conscious agents capable of free choice.

[…]

The fact that our choices depend on prior cause does not mean that choice doesn’t matter. To sit back and see what happens is also a choice that has its own consequences. So, the choices we make in life are as important as people think, but the next choice you make will come out of a wilderness of prior causes that you cannot see and did not bring into being.

[…]

Losing a belief in free will has not made me a fatalist — in fact, it has increased my feelings of freedom. My hopes, fears, and neuroses seem less personal and indelible. There is no telling how much I might change in the future. Just as one wouldn’t draw a lasting conclusion about oneself on the basis of a brief experience of indigestion, one needn’t do so on a basis of how one has thought or behaved for vast stretches of time in the past. A creative change of inputs to the system — learning new skills, forming new relationships, adopting new habits of attention — may radically transform one’s life. Becoming sensitive to the background causes of one’s thoughts and feelings can, paradoxically, allow for greater creative control over one’s life.

This understanding reveals you to be a biochemical puppet, of course, but it also allows you to grab hold of one of your strings.

In Free Will, Harris goes on to explore the unconscious origins of free will, why we have such a hard time relinquishing it, and how we can begin to think about choice and moral agency after letting go of free will. Complement it with philosopher Rebecca Goldstein on what Plato teaches us about free will and negotiating our capacities for good and evil and C.S. Lewis on what it means to have free will in a universe of fixed laws, then revisit Harris on spirituality without religion, the paradox of meditation, the need to demolish the boundary between science and philosophy, and his reading list of 12 books he believes everyone should read.

BP

The Science of How Our Minds and Our Bodies Converge in the Healing of Trauma

“When our senses become muffled, we no longer feel fully alive… If you have a comfortable connection with your inner sensations … you will feel in charge of your body, your feelings, and your self.”

The Science of How Our Minds and Our Bodies Converge in the Healing of Trauma

“A purely disembodied human emotion is a nonentity,” William James asserted in his revolutionary 1884 theory of how our bodies affect our feelings. Two generations later, Rilke wrote in a beautiful letter of advice to a young woman: “I am not one of those who neglect the body in order to make of it a sacrificial offering for the soul, since my soul would thoroughly dislike being served in such a fashion.” And yet in the century since, we’ve made little progress on making sense — much less making use — of the inextricable dialogue between the physical body and the psychoemotional interior landscape we shorthand as “soul.”

Nowhere is this relationship more essential yet more endangered than in our healing from trauma, and no one has provided a more illuminating, sympathetic, and constructive approach to such healing than Boston-based Dutch psychiatrist and pioneering PTSD researcher Bessel van der Kolk. In The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma (public library), he explores “the extreme disconnection from the body that so many people with histories of trauma and neglect experience” and the most fertile paths to recovery by drawing on his own work and a wealth of other research in three main areas of study: neuroscience, which deals with how mental processes function within the brain; developmental psychopathology, concerned with how painful experiences impact the development of mind and brain; and interpersonal neurobiology, which examines how our own behavior affects the psychoemotional and neurobiological states of those close to us.

Art by Simona Ciraolo from Hug Me

Trauma, Van der Kolk notes, affects not only those who have suffered it but also those who surround them and, especially, those who love them. He writes:

One does not have be a combat soldier, or visit a refugee camp in Syria or the Congo to encounter trauma. Trauma happens to us, our friends, our families, and our neighbors. Research by the Centers for Disease Control and Prevention has shown that one in five Americans was sexually molested as a child; one in four was beaten by a parent to the point of a mark being left on their body; and one in three couples engages in physical violence. A quarter of us grew up with alcoholic relatives, and one out of eight witnessed their mother being beaten or hit.

[…]

It takes tremendous energy to keep functioning while carrying the memory of terror, and the shame of utter weakness and vulnerability.

In trauma survivors, Van der Kolk notes, the parts of the brain that have evolved to monitor for danger remain overactivated and even the slightest sign of danger, real or misperceived, can trigger an acute stress response accompanied by intense unpleasant emotions and overwhelming sensations. Such posttraumatic reactions make it difficult for survivors to connect with other people, since closeness often triggers the sense of danger. And yet the very thing we come to most dread after experiencing trauma — close contact with other people — is also the thing we most need in order to regain psychoemotional solidity and begin healing. Van der Kolk writes:

Being able to feel safe with other people is probably the single most important aspect of mental health; safe connections are fundamental to meaningful and satisfying lives.

This, he points out, is why we’ve evolved a refined mechanism for detecting danger — we’re incredibly attuned to even the subtlest emotional shifts in those around us and, even if we don’t always heed these intuitive readings, we can read another person’s friendliness or hostility on the basis of such imperceptible cues as brow tension, lip curvature, and body angles. But one of the most pernicious effects of trauma is that it disrupts this ability to accurately read others, rendering the trauma survivor either less able to detect danger or more likely to misperceive danger where there is none.

Art by Wolf Erlbruch from Duck, Death and the Tulip

Paradoxically, what normalizes and repairs our ability to read danger and safety correctly is human connection. Van der Kolk writes:

Social support is not the same as merely being in the presence of others. The critical issue is reciprocity: being truly heard and seen by the people around us, feeling that we are held in someone else’s mind and heart. For our physiology to calm down, heal, and grow we need a visceral feeling of safety. No doctor can write a prescription for friendship and love: These are complex and hard-earned capacities. You don’t need a history of trauma to feel self-conscious and even panicked at a party with strangers — but trauma can turn the whole world into a gathering of aliens.

Beginning to adequately address trauma requires a cultural shift away from the disease model on which twentieth-century psychology and psychiatry were built. (That model has seeded a number of cultural deformities, affecting everything from our longtime denial of the robust relationship between stress and physical illness to the way we make sense of our romantic failures.) Trauma and its psychological consequences, Van der Kolk argues, is not a mental disease but an adaptation. He writes:

The brain-disease model overlooks four fundamental truths: (1) our capacity to destroy one another is matched by our capacity to heal one another. Restoring relationships and community is central to restoring well-being; (2) language gives us the power to change ourselves and others by communicating our experiences, helping us to define what we know, and finding a common sense of meaning; (3) we have the ability to regulate our own physiology, including some of the so-called involuntary functions of the body and brain, through such basic activities as breathing, moving, and touching; and (4) we can change social conditions to create environments in which children and adults can feel safe and where they can thrive.

When we ignore these quintessential dimensions of humanity, we deprive people of ways to heal from trauma and restore their autonomy. Being a patient, rather than a participant in one’s healing process, separates suffering people from their community and alienates them from an inner sense of self.

One of Salvador Dalí’s illustrations for the essays of Montaigne

The most essential aspect of healing, Van der Kolk asserts, is learning to fully inhabit that inner sense of self in all of its dimensions — not only emotional and psychological, but bodily — which are inseparable from one another. He explains:

The natural state of mammals is to be somewhat on guard. However, in order to feel emotionally close to another human being, our defensive system must temporarily shut down. In order to play, mate, and nurture our young, the brain needs to turn off its natural vigilance.

Many traumatized individuals are too hypervigilant to enjoy the ordinary pleasures that life has to offer, while others are too numb to absorb new experiences — or to be alert to signs of real danger.

[…]

Many people feel safe as long as they can limit their social contact to superficial conversations, but actual physical contact can trigger intense reactions. However … achieving any sort of deep intimacy — a close embrace, sleeping with a mate, and sex — requires allowing oneself to experience immobilization without fear. It is especially challenging for traumatized people to discern when they are actually safe and to be able to activate their defenses when they are in danger. This requires having experiences that can restore the sense of physical safety.

One place where our culture fails, Van der Kolk argues, is in integrating this physical aspect with the psychoemotional infrastructure of experience — a failure spanning from our clinical methods of treating trauma to our education system. (More than half a century ago, Aldous Huxley wrote beautifully about the need for an integrated mind-body system of education.) Education, Van der Kolk notes, tends to engage the cognitive capacities of the mind rather than the bodily-emotional engagement system, which makes for an ultimately incomplete model of human experience. In a sobering passage that should be etched onto the wall of every Department of Education the world over, he writes:

Despite the well-documented effects of anger, fear, and anxiety on the ability to reason, many programs continue to ignore the need to engage the safety system of the brain before trying to promote new ways of thinking. The last things that should be cut from school schedules are chorus, physical education, recess, and anything else involving movement, play, and joyful engagement. When children are oppositional, defensive, numbed out, or enraged, it’s also important to recognize that such “bad behavior” may repeat action patterns that were established to survive serious threats, even if they are intensely upsetting or off-putting.

Illustration by Peter Brown from My Teacher Is a Monster

With an eye to heartening counterpoints like a karate program for rape survivors and a theater program in Boston’s inner-city schools, he considers the reasons and the urgency for engaging the body in healing:

The body keeps the score: If the memory of trauma is encoded in the viscera, in heartbreaking and gut-wrenching emotions, in autoimmune disorders and skeletal/muscular problems, and if mind/brain/visceral communication is the royal road to emotion regulation, this demands a radical shift in our therapeutic assumptions.

Drawing on his work with patients who have survived a variety of traumatic experiences — from plane crashes to rape to torture — Van der Kolk considers the great challenge of those of us living with trauma:

When our senses become muffled, we no longer feel fully alive.

[…]

In response to the trauma itself, and in coping with the dread that persisted long afterward, these patients had learned to shut down the brain areas that transmit the visceral feelings and emotions that accompany and define terror. Yet in everyday life, those same brain areas are responsible for registering the entire range of emotions and sensations that form the foundation of our self-awareness, our sense of who we are. What we witnessed here was a tragic adaptation: In an effort to shut off terrifying sensations, they also deadened their capacity to feel fully alive.

Art by Oliver Jeffers from The Heart and the Bottle, a tender illustrated parable of what happens when we deny our difficult emotions

While this dissociation from the body is an adaptive response to trauma, the troublesome day-to-day anguish comes from the retriggering of this remembered response by stimuli that don’t remotely warrant it. Van der Kolk examines the interior machinery at play:

The elementary self system in the brain stem and limbic system is massively activated when people are faced with the threat of annihilation, which results in an overwhelming sense of fear and terror accompanied by intense physiological arousal. To people who are reliving a trauma, nothing makes sense; they are trapped in a life-or-death situation, a state of paralyzing fear or blind rage. Mind and body are constantly aroused, as if they are in imminent danger. They startle in response to the slightest noises and are frustrated by small irritations. Their sleep is chronically disturbed, and food often loses its sensual pleasures. This in turn can trigger desperate attempts to shut those feelings down by freezing and dissociation.

In a passage that calls to mind philosopher Martha Nussbaum’s excellent subsequent writings on the nuanced relationship between agency and victimhood, Van der Kolk adds:

Agency starts with what scientists call interoception, our awareness of our subtle sensory, body-based feelings: the greater that awareness, the greater our potential to control our lives. Knowing what we feel is the first step to knowing why we feel that way. If we are aware of the constant changes in our inner and outer environment, we can mobilize to manage them.

But one of the most pernicious effects of trauma, Van der Kolk notes, is that it disrupts our ability to know what we feel — that is, to trust our gut feelings — and this mistrust makes us misperceive threat where there is none. This, in turn, creates an antagonistic relationship with our own bodies. He explains:

If you have a comfortable connection with your inner sensations — if you can trust them to give you accurate information — you will feel in charge of your body, your feelings, and your self.

However, traumatized people chronically feel unsafe inside their bodies: The past is alive in the form of gnawing interior discomfort. Their bodies are constantly bombarded by visceral warning signs, and, in an attempt to control these processes, they often become expert at ignoring their gut feelings and in numbing awareness of what is played out inside. They learn to hide from their selves.

The more people try to push away and ignore internal warning signs, the more likely they are to take over and leave them bewildered, confused, and ashamed. People who cannot comfortably notice what is going on inside become vulnerable to respond to any sensory shift either by shutting down or by going into a panic — they develop a fear of fear itself.

[…]

The experience of fear derives from primitive responses to threat where escape is thwarted in some way. People’s lives will be held hostage to fear until that visceral experience changes… Self-regulation depends on having a friendly relationship with your body. Without it you have to rely on external regulation — from medication, drugs like alcohol, constant reassurance, or compulsive compliance with the wishes of others.

In its extreme, this lack of internal regulation leads to retraumatizing experiences:

Because traumatized people often have trouble sensing what is going on in their bodies, they lack a nuanced response to frustration. They either react to stress by becoming “spaced out” or with excessive anger. Whatever their response, they often can’t tell what is upsetting them. This failure to be in touch with their bodies contributes to their well-documented lack of self-protection and high rates of revictimization and also to their remarkable difficulties feeling pleasure, sensuality, and having a sense of meaning.

[…]

One step further down on the ladder to self-oblivion is depersonalization — losing your sense of yourself.

What, then, can we do to regain agency in our very selves? Pointing to decades of research with trauma survivors, Van der Kolk argues that it begins with befriending our bodies and their sensory interiority:

Trauma victims cannot recover until they become familiar with and befriend the sensations in their bodies. Being frightened means that you live in a body that is always on guard. Angry people live in angry bodies. The bodies of child-abuse victims are tense and defensive until they find a way to relax and feel safe. In order to change, people need to become aware of their sensations and the way that their bodies interact with the world around them. Physical self-awareness is the first step in releasing the tyranny of the past.

In a sentiment that calls to mind Schopenhauer’s porcupine dilemma, Van der Kolk writes:

The most natural way for human beings to calm themselves when they are upset is by clinging to another person. This means that patients who have been physically or sexually violated face a dilemma: They desperately crave touch while simultaneously being terrified of body contact. The mind needs to be reeducated to feel physical sensations, and the body needs to be helped to tolerate and enjoy the comforts of touch. Individuals who lack emotional awareness are able, with practice, to connect their physical sensations to psychological events. Then they can slowly reconnect with themselves.

How we respond to trauma, Van der Kolk asserts, is to a large extent conditioned by our formative relationships with our caretakers, whose task is to help us establish a secure base. Essential to this is the notion of attunement between parent and child, mediated by the body — those subtlest of physical interactions in which the caretaker mirrors and meets the baby’s needs, making the infant feel attended to and understood.

Art by Isol from The Menino
Art by Isol from The Menino

Attunement is the foundation of secure attachment, which is in turn the scaffolding of psychoemotional health later in life. Van der Kolk writes:

A secure attachment combined with the cultivation of competency builds an internal locus of control, the key factor in healthy coping throughout life. Securely attached children learn what makes them feel good; they discover what makes them (and others) feel bad, and they acquire a sense of agency: that their actions can change how they feel and how others respond. Securely attached kids learn the difference between situations they can control and situations where they need help. They learn that they can play an active role when faced with difficult situations. In contrast, children with histories of abuse and neglect learn that their terror, pleading, and crying do not register with their caregiver. Nothing they can do or say stops the beating or brings attention and help. In effect they’re being conditioned to give up when they face challenges later in life.

With an eye to the immensely influential work of psychoanalyst Donald Winnicott, who pioneered the study of attachment and the notion that attunement between mother and infant lays the foundation for the child’s sense of self later in life, Van der Kolk summarizes these foundational findings:

If a mother cannot meet her baby’s impulses and needs, “the baby learns to become the mother’s idea of what the baby is.” Having to discount its inner sensations, and trying to adjust to its caregiver’s needs, means the child perceives that “something is wrong” with the way it is. Children who lack physical attunement are vulnerable to shutting down the direct feedback from their bodies, the seat of pleasure, purpose, and direction.

[…]

The need for attachment never lessens. Most human beings simply cannot tolerate being disengaged from others for any length of time. People who cannot connect through work, friendships, or family usually find other ways of bonding, as through illnesses, lawsuits, or family feuds. Anything is preferable to that godforsaken sense of irrelevance and alienation.

Although we can’t prevent most traumatic experiences from happening, having a solid formative foundation can make healing much easier. But what are those of us unblessed with secure attachment to do? Pointing to his mindfulness-based work with trauma survivors, Van der Kolk offers an assuring direction:

Nobody can “treat” a war, or abuse, rape, molestation, or any other horrendous event, for that matter; what has happened cannot be undone. But what can be dealt with are the imprints of the trauma on body, mind, and soul: the crushing sensations in your chest that you may label as anxiety or depression; the fear of losing control; always being on alert for danger or rejection; the self-loathing; the nightmares and flashbacks; the fog that keeps you from staying on task and from engaging fully in what you are doing; being unable to fully open your heart to another human being.

The crucial point is that trauma robs us of what Van der Kolk terms “self-leadership” — the sense of having agency over ourselves and being in charge of our own experience. The path to recovery is therefore paved with the active rebuilding of that sense. He writes:

The challenge of recovery is to reestablish ownership of your body and your mind — of your self. This means feeling free to know what you know and to feel what you feel without becoming overwhelmed, enraged, ashamed, or collapsed. For most people this involves (1) finding a way to become calm and focused, (2) learning to maintain that calm in response to images, thoughts, sounds, or physical sensations that remind you of the past, (3) finding a way to be fully alive in the present and engaged with the people around you, (4) not having to keep secrets from yourself, including secrets about the ways that you have managed to survive.

Art by Giselle Potter from Tell Me What to Dream About

One of the paradoxical necessities of the recovery process is the need to revisit the trauma without becoming so overwhelmed by sensations as to be retraumatized. The way to accomplish this, Van der Kolk argues, is by learning to be present with these overwhelming emotions and their sensorial counterparts in the body. He writes:

Traumatized people live with seemingly unbearable sensations: They feel heartbroken and suffer from intolerable sensations in the pit of their stomach or tightness in their chest. Yet avoiding feeling these sensations in our bodies increases our vulnerability to being overwhelmed by them.

[…]

Traumatized people are often afraid of feeling. It is not so much the perpetrators (who, hopefully, are no longer around to hurt them) but their own physical sensations that now are the enemy. Apprehension about being hijacked by uncomfortable sensations keeps the body frozen and the mind shut. Even though the trauma is a thing of the past, the emotional brain keeps generating sensations that make the sufferer feel scared and helpless. It’s not surprising that so many trauma survivors are compulsive eaters and drinkers, fear making love, and avoid many social activities: Their sensory world is largely off limits.

Another paradox of healing is that although contact and connection are often terrifying to the traumatized, social support and a sense of community are the foundation upon which a health relationship with our own feelings and sensations is built. Half a century after Dorothy Day’s memorable assertion that “we have all known the long loneliness and we have learned that the only solution is love and that love comes with community,” Van der Kolk writes:

All of us, but especially children, need … confidence that others will know, affirm, and cherish us. Without that we can’t develop a sense of agency that will enable us to assert: “This is what I believe in; this is what I stand for; this is what I will devote myself to.” As long as we feel safely held in the hearts and minds of the people who love us, we will climb mountains and cross deserts and stay up all night to finish projects. Children and adults will do anything for people they trust and whose opinion they value. But if we feel abandoned, worthless, or invisible, nothing seems to matter. Fear destroys curiosity and playfulness. In order to have a healthy society we must raise children who can safely play and learn. There can be no growth without curiosity and no adaptability without being able to explore, through trial and error, who you are and what matters to you.

The pathways, both practical and psychological, to doing that is what Van der Kolk goes on to explore in the remainder of the revelatory, redemptive, and immensely helpful The Body Keeps the Score. Complement it with Walt Whitman on healing the body and the spirit, pioneering immunologist Esther Sternberg on the science of how our emotions affect our susceptibility to burnout and disease, artist Marina Abramovic on turning trauma into raw material for art, then treat yourself to Van der Kolk’s magnificent On Being conversation with Krista Tippett:

BP

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