Posts Tagged ‘shame’

Yes, But…

Thursday, December 15th, 2011


(This article appeared in the Anderson Valley Advertiser December 2011)

“If there’s not drama and negativity in my life, all my songs will be really wack and boring or something.” Eminem

For many people, December is the most neurotic month; and Christmas marks the apogee of shame, jealousy, disappointment, and self-loathing. Indeed, most psychotherapists aver that Christmas in America might as well be called Crisismas. One can theorize endlessly about why Christmas/Hanukah (and the attendant mass gift buying) inflame the dominant neuroses of so many people, but the picture that sums it up for me is of a child surrounded by dozens of presents she has just frantically unwrapped, not one of which satisfies her craving to be loved.

“The ultimate lesson all of us have to learn is unconditional love, which includes not only others but ourselves as well.” Elisabeth Kubler-Ross

When I embarked on my first experience of formal psychotherapy, I knew my parents had abused me, but I could not clearly elucidate the rules of behavior instilled in me by their abuse. My therapist suggested I try to write down the basic rules governing my behavior so I might gain a more objective view of how those rules impacted my life.

One of the most deeply entrenched rules I uncovered was: Nothing I do is good enough. Sound familiar? I ask because I subsequently learned that this rule runs many people’s lives. And though I doubt our parents ever came right out and said, “Nothing you do is good enough,” I know that in myriad other ways they repeated that message thousands and thousands of times; and repetition accomplished the entrenching.

For instance, my mother used “Yes, but…” responses to everything I did or said. “Yes, but…” responses are characterized by positive (though insincere) opening statements followed by the word but, followed by subtle or emphatic derogatory proclamations. Here are a few examples of the thousands of “Yes, but…” responses I received from my mother over the course of my life.

Following my performance in a high school play, my mother said, “You were very good, but…you’re not going to be in another play, are you?”

Upon hearing about my very first sale of a short story, my mother said, “Well, that’s good news, but…they didn’t give you very much money, did they?”

And after meeting my girlfriend(s) for the first time, my mother opined, “Well, she seems nice, but…maybe just a little cuckoo/not too bright/might have a weight problem/might be anorexic/seems rather young for you/seems rather old for you/never finished college/works in a restaurant/rides a motorcycle/do you think she takes drugs?/she sure can drink/she wears an awful lot of makeup/why no makeup?”

Children who are constantly bombarded with “Yes, but…” responses grow into adults incapable of hearing or believing positive responses from anyone. If such a bombarded person sings a song and a friend responds, “That was beautiful,” the bombarded person will assume the compliment is false because in their experience honest responses (which are always negative) only come after the word but. Indeed, a statement not followed by but and a negative comment has no meaning at all to a person programmed to believe Nothing I Do Is Good Enough.

Some people grow up with “Yes, but…” fathers and non-“Yes, but…” mothers, or vice-versa; and these people tend to have mixed views of themselves as partly good enough and partly not good enough. Their versions of the Nothing I Do Is Good Enough rule are Nothing I Do Is Good Enough for Dad (men) or Nothing I Do Is Good Enough for Mom (women). However, if both parents employ “Yes, but…” responses to everything a child does or says, then that child will become an adult with serious trust and intimacy issues; and he or she will almost certainly fear and loathe Christmas because no matter what he or she buys for anyone, it, the present, won’t be good enough. How could the stupid thing be good enough? Consider the source!

Most of my father’s responses to me began with, “You know what you really should do?” followed by a lecture about what I should be doing as opposed to what I was already doing. In this way he re-enforced the Nothing I Do Is Good Enough rule with the I’m Never Doing What I Should Be Doing rule.

At best the family teaches the finest things human beings can learn from one another— generosity and love. But it is also, all too often, where we learn nasty things like hate, rage and shame.” Barbara Ehrenreich

I vividly remember the day before Christmas when I was twenty-two, a scruffy lad hitchhiking to my parents’ house for our annual festival of neuroses starring my brother and sisters and parents and moi. This was during the vagabond phase of my life—a cold and rainy day in California, the oak trees rife with mistletoe. I was standing on the western edge of Highway One, about ten miles south of San Francisco, the rain drumming on my gray plastic poncho, my backpack and guitar sheltered under a silver tarp, my soggy cardboard sign reading Half Moon Bay Or Bust. I was dreaming of a hot shower and a good meal and a warm bed, and trying not to think about the de rigueur verbal abuse that would accompany such parental hospitality, when a tie-dyed Volkswagen van stopped for me.

The driver was a loquacious fellow named Larry from Galveston, Texas, his coach reeking of tobacco and marijuana, his voice warm and comforting. After a few minutes of back and forth, he said, “Hey, man, I like you. Why don’t you come to our house for Christmas? Stay a couple days? We live right down here in San Gregorio. Kind of a commune, you know? My wife Suse is cooking a big turkey, my sister Clara’s making yams. Bunch of artists and musicians.” He bounced his eyebrows. “Lots of pretty women. You’ll dig it, man. There’s plenty of room to spread your kit.” Then he grinned enormously and added, “It’ll beat the shit out of mom and dad, guaranteed.”

As the child of two alpha “Yes, but…” parents, I was certain there was an unspoken but attached to Larry’s generous invitation—a problem or multiple problems. Larry’s wife might become violent after her third glass of wine, and the wine would probably be cheap and give me a headache. Their dog would bite me or give me fleas. Suse’s turkey would be overcooked, Clara’s yams inedible, and I’d become constipated or get the runs. I would hate the music Larry and his friends played, and Larry and his friends would hate my music. The women would not be pretty and the whole affair would be a disaster.

“The thing is,” I replied, hating myself for turning him down, “I promised my mother I’d come home for Christmas, and…she worries about me. I haven’t seen her in a year, so…”

“I hear you,” said Larry, nodding sympathetically. “But listen, man…if it sucks, you know where to find us. We’d love to have you.”

We parted ways at the San Gregorio general store and I hitched the last thirty miles to the festival of neuroses at my folks’ house. And that festival did, indeed, totally suck. So the next day, Christmas, despite the howling wind and torrential rain, I hitched back to San Gregorio, found the dirt road to Larry’s and Suse’s place, and arrived at their little farmhouse to find Suse storming around in the wreckage of her kitchen and raging on the phone at her mother in Los Angeles—Larry sitting in his van with his five-year-old son Lance, Buffalo Springfield on the stereo singing, “Listen to my bluebird laugh, she can’t tell you why. Deep within her heart, you see, she knows only crying. Just crying.”

“Hey,” said Larry, rolling down his window and smiling at me. “You came. Right on.”

“Is it still okay if I stay here tonight?”

“Absolutely,” he said, turning to his son. “Hey, Lance, this is Tom.”

“Todd,” I said softly. “Merry Christmas, Lance.”

“I got four books and a ball and crayons,” said Lance, nodding seriously. “What did you get?”

“Fifty dollars,” I said, thinking of my unhappy mother slipping me the money under the table so my dad wouldn’t see, and how, despite her disapproval of everything I chose to do, she loved me; if only I would be someone else.

“Suse is seriously bummed,” said Larry, shaking his head. “Bullshit with her mom. You don’t want to know. So…I think maybe you better sleep in my van tonight. Should be better in the morning.”

“I think I’ll just come back another time,” I said, taking a hit from the proffered joint. “But I thank you for the invitation.”

“Oh, stay, man,” he said, nodding encouragement. “This, too, shall pass. Besides, we need you to help us eat all the leftovers. Right, Lance?”

“Right,” said Lance, nodding emphatically. “There’s tons.”

Getting Well

Thursday, August 12th, 2010

“Programming our intelligence with illusion and fantasy of there’s something wrong with us and enough isn’t enough and too much isn’t too much then turning us loose on ourselves and the world.” John Trudell

My folks are no longer alive, but the shame I feel for doing what I love still surfaces now and then to remind me of how terribly jealous my father was of his own children and how angry my mother was about having her creative ambitions so painfully thwarted. The famous quote by Carl Jung, “Nothing has a stronger influence psychologically on children than the unlived life of the parent,” elucidates a big part of my mother’s influence on me, while Jennifer James sums up my father with, “Jealousy is simply and clearly the fear that you do not have value.”

My parents were relentlessly verbally abusive of me, and on a few terrible occasions my alcoholic father resorted to physical violence that severely injured me. When I was eleven years old, he nearly killed me. I blocked all memory of this most vicious assault until my fortieth year when a vivid movie of the attack emerged from the archives of my memory. Watching that old footage sent me racing into therapy for the first time in my life.

Therapy saved me, and that does not overstate the case. My savior was a down-to-earth woman who could read in my facial expressions and physical mannerisms the unspoken text of my self-doubt, and she would bring my attention to these physical cues so I might become aware of them and explore the deeper feelings they were attached to.

Of the many discoveries I made in therapy, the most overwhelming one was that I was so entirely acclimated to being told I was worthless, I created most of my relationships to support my parents’ foundational message: no matter what you do, Todd, it isn’t good enough. Which meant I wasn’t good enough. For anything or anyone. So why go on living?

“If you have no critics you’ll likely have no success.” Malcolm X

Having known many struggling artists, I am well aware that my back-story (as they call the past in Hollywood) is hardly unique. Indeed, I have yet to meet an artist whose memoir could truthfully begin, “My parents lovingly supported me in all my artistic pursuits.” This is not to suggest that abuse and the resultant self-loathing are prerequisites to becoming an artist, though certainly such emotional history typifies the lives of many American and European artists, especially those artists creating things that don’t fit neatly into the stifling little boxes maintained by our corporate-sponsored academic/cultural mafia.

O, beware, my lord, of jealousy! 
It is the green-eyed monster which doth mock
 the meat it feeds on. 
William Shakespeare

When I lived in Berkeley I was in the habit of listening to the radical pinko radio station KPFA. Shortly before the most recent American invasion of Iraq, in anticipation of a huge anti-war demonstration, one of the radio hosts invited two of the demonstration’s organizers onto his show to talk about the upcoming march. To my chagrin, though not to my surprise, these two fellows spent twenty minutes of the half-hour show arguing about which of them was the more authentic (for lack of a better word) radical. As I listened to these two “revolutionaries” demean each other and recite extensive proof of their radical pedigrees, I recalled an old friend saying, “The Right has nothing to fear from the Left because we would much rather fight amongst ourselves than actually unite in any substantive way.”

A related phenomenon is that of outsider artists and musicians (outside the mainstream) attacking and undermining each other rather than joining forces ala The Impressionists to collectively bring their creations to a larger audience. As a former devotee of open mike nights (vaudeville enacted in pubs by anyone wishing to perform), which I’m guessing grew out of the egalitarian poetry and folk music scenes of the 1960’s, I have experienced love fests wherein every performer of every imaginable level of talent was resoundingly applauded for simply having the courage to perform, and I have suffered through hateful competitions where the audience might as well have been a mob thirsting for blood, applause begrudged, the more talented the performer, the more openly despised she was.

My favorite thing to do at open mikes, in either scenario, was to interview my fellow performers, to learn their back-stories, and to ask them what they hoped to accomplish with their performances. And I was fascinated to discover that virtually everyone who came to these open mikes—old and young, hopeful amateur and fallen professional, men and women, talented and tone deaf, told tales kin to mine and containing the same essential elements.

1. Missing or disapproving parents

2. An abiding sense of being different, not fitting in

3. Finding solace in their art

4. Idolizing social and artistic renegades

5. Criticized and rejected for their art and lifestyle choices

6. Fierce determination to succeed and prove the naysayers wrong

7. Choosing poverty over giving up or compromising their art

8. Substance abuse to numb the pain of failure and rejection

9. Lousy relationships

10. The dream/belief they will be discovered by someone who makes of them a star

Based on my open mike experiences and interviews, I eventually wrote a screenplay for a musical comedy/tragedy entitled Open Mike, though #10 (see above) has yet to befall my opus.

“Depression is rage spread thin.” George Santayana

When I turned fifty I was at the lowest point in my career as a musician and writer, and I sank into the deepest and longest lasting depression of my life. After a tortuous year of living under what felt like the gravity of Jupiter, and desperate to understand what was happening to me, I came upon a book of essays by the psychiatrists Sylvano Arieti and Jules Bemporad with a title that minced no words: Severe and Mild Depression. One of the essays by Arieti presented a case study of a novelist with a life so like mine I gasped at every sentence.

Prior to his most severe depression, this novelist only exhibited mild symptoms of depression when he was between novels, at which times he would quickly launch himself into writing a new novel. Thus he, as I, managed to outrun and subsume his depression by pouring his energy and attention into his novels for thirty years until exhaustion and failure finally caught up to him. Furthermore, his sustaining fantasy, and mine, was that he would eventually write a novel so great and successful that he would be lifted out of his dreary life into a realm of exquisite happiness wherein his previously rejecting mother and/or father, as well as their embodiment in his wife or lover, would at long last love him.

Reading Arieti’s words, I had an epiphany. I must henceforth give up the unreasonable hope of winning the approval of people incapable of approving of me, for they will never approve of anyone, least of all themselves, and I must learn to accept myself for who and what I am here and now, and not for what I fantasize about becoming.

“Do what you feel in your heart to be right – for you’ll be criticized anyway. You’ll be damned if you do and damned if you don’t.” Eleanor Roosevelt

Without question, the most hateful critics of my writing and music have been fellow artists. Before I got well, to the extent I have, I maintained relations with several angry and deeply bitter artists to whom I gave money I could ill afford to give, and praise, often false, I hoped would soothe them. Our rules of engagement were that I would support and encourage everything they did, and never dare offer suggestions about their music or art. In exchange, they would feel entitled to denigrate me, and to spit on any of my creations I was foolish enough to share with them. These relationships were such obvious re-enactments of my relationship with my father and mother it seems laughable I was unaware of the parallels, but before the veil is lifted we are blind.

After many years of working hard to reform my psychic operating system, I thought I had successfully exorcised the last of these destructive folk from my life, but a few days ago I was made aware of one such person I had overlooked. Having just released my first CD of solo piano music, 43 short Piano Improvisations, the culmination (so far) of forty-five years of piano practice and exploration, I received a letter that ranks among the most sickening and cruel attacks I have ever experienced. This letter was not a critique of my music, but reviled me for daring to make music at all, and as such recalled my mother’s rage and my father’s sense of worthlessness they both so diligently impressed upon me.

“Fortunately,” I wrote to my assailant, “I am finally well enough to trust my own judgment about what I wish to share with others, so that your most unkind words will not deter me.”

Todd’s CD 43 short Piano Improvisations is available from iTunes and UnderTheTableBooks.com

(This essay originally appeared in the Anderson Valley Advertiser August 2010)