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SSU Graduation Evening

Hi All,

Just wanted you to know that 6 students graduated from the Depth Program last nite at SSU. The event was held in the new music building which was the perfect venu. It is gorgorous with an outdoor area that includes a hugh firepit with charcoal and an indoor area with a large fireplace. It reminded me of being in a vineyard.

Each of the students did a fantastic job of presenting their work and their process to arrive at last nite. And they all used some kind of video/powerpoint to present their work. Very impressive for someone like me who can barely use powerpoint! Many of them also included unbelievably touching and reveting artwork done over the two years also. Maybe some of them will post on this site. One of the graduates is a student of Taiko drumming and her teacher, herself and 2 others gave a performance at the conclusion which was resounding and empowering.

The room was really full so next year they will need to use a larger space, however, it was doable. I wish each of you had been there to witness this very special evening. I was so happy to have gone.

Blessings,

sandi

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Organization
Shadows_Cvr_loRes.jpgOut of the Shadows: a play in two parts by Elizabeth Clark-Stern

Out of the Shadows began as an independent study at Antioch University. Revised some years later, the International Association of Analytical Psychologists invited the original production to be performed at the International Jungian Congress in South Africa in 2007.

The year is 1910. Sigmund Freud and his heir-apparent, Carl Jung, are changing the way we think about human nature and the mind. Twenty-two year old Toni Wolff enters the heart of this world as Jung’s patient. His wife, Emma Jung, is twenty-six, a mother of four, aspiring to help her husband create the new science of psychology. Toni Wolff’s fiercely curious mind, and her devotion to Jung, threaten this aspiration. Despite their passionate rivalry for Jung’s mind and heart, the two women often find themselves allied. Born of aristocratic Swiss families, they are denied a university education, and long to establish themselves as analysts in their own right. Passionate and self-educated, they hunger for another intellectual woman with whom to explore the complexities of the soul, the role of women in society, and the archetypal feminine in the affairs of nations.

Their relationship spans 40 years, from pre-World War I to the dawn of the Atomic Age. Their story follows the development of the field of psychology, and the moral and professional choices of some of its major players. Ultimately, Toni and Emma discover that their individual development is informed by both their antagonism, and their common ground. They struggle to know the essence of the enemy, the “other,”and to claim the power and depth of their own nature.

About the Author

Elizabeth Clark-Stern is a psychotherapist in private practice in Seattle, Washington. Before embracing this beloved work, she worked as a professional writer and actor. Her produced plays and teleplays include, All I Could See From Where I Stood, Help Wanted, and Nana Sophia's Oasis.

Published by Genoa House and available from your local bookstore, a host of online booksellers, and directly from the Fisher King Press Online Bookstore. Out of the Shadows ISBN: 978-0-9813939-4-0, Publication Date: June 1, 2010
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WRESTLING WITH THE SHADOW:
A playwright’s journey into the heart of C.G. Jung
by Elizabeth Clark-Stern

I wrote the following essay after returning from the premiere performance of my play, OUT OF THE SHADOWS: A STORY OF TONI WOLFF AND EMMA JUNG, at the International Jungian Congress in Cape town in 2007.
The play has just been published, in may, 2010, a beautiful edition available at www.fisherkingpress.com, or on Amazon.

“And he rose up that night, and took his two wives, and his two women servants..and sent them over a brook...and Jacob was left alone; and there wrestled a man with him until the breaking of the day....And he said “Let me go, for the day breaketh”. And He said, “I will not let thee go, except thou bless me”...And Jacob blessed Him there, and called the name of the place Peniel: “for I have seen God face to face and my life is preserved.”
---Genesis 32:22-30 King James version

“Yahweh remembered a feminine being who is no less agreeable to him than to man, a friend
and playmate from the beginning of the world, the first-born of all God’s creatures, a stainless reflection of his glory and a master workman, nearer and dearer to his heart than the last descendants of the imaginal man, who was but a secondary product stamped in his image. There must be some dire necessity responsible for this anamnesis of Sophia: things simply could not go on as before, the “just” God could not go on committing injustices, and the “Omniscient” could not behave any longer like a clueless and thoughtless human being. Self-reflection becomes an imperative necessity, and for this Wisdom is needed.”
--C.G. Jung, ANSWER TO JOB




“I’m struggling with the anger I feel toward Jung”.

This statement hung in the air, as several of us gathered at the foot of the stage

following a Seattle performance of my play, OUT OF THE SHADOWS: A STORY OF TONI

WOLFF AND EMMA JUNG.

The woman sharing her feelings was a candidate in the Seattle-based Jungian analyst training

program, “My whole life is consumed with the study of Jung and his work”, she added, “and I don’t

know what to do with this anger toward Jung, the man.”

Her voice expressed confusion, outrage, betrayal. I had felt all of this myself, and certainly

heard it from many dedicated, passionately intellectual women: the struggle to reconcile the

luminous genius of this man with his behavior toward women.

Throughout his career women flocked to him, sensing in his work an invitation to the

Feminine - not only the archetypal one, but flesh and blood women searching for meaning and

depth. In ANSWER TO JOB Jung wrote of the reappearance of the goddess Sophia, the feminine

pneuma, Wisdom, beloved partner of God. Jung’s work calls women to enter a safe, sacred

place. It seemed inevitable that women students of Jungian analysis would feel betrayed, even

violated to learn of his relationship with some of the women in his life, as portrayed in the

documentary on Sabina Spielrein, the biography JUNG by Diedre Bair, now this production in which

the intellectual/love triangle between Jung, Emma, and Toni is given creative voice.

There was also the question of his actions in Germany during World War II. One of my

Jewish friends confronted me with documents from the Internet about Jung and the Third Reich. Even

if his blundering into Berlin was motivated by naiveté, it was troubling.

Now, with the play on its way the International Jungian Congress in Cape Town, I

looked at the faces of these women standing next to me at the foot of the stage. What did I feel

about Jung now? How had the creative process of writing the play and acting the role of Toni Wolff

impacted my conscious - and unconscious relationship to this man and his work?

If I go back to the beginning of my journey, the first character I encountered with contradictory

virtues and vices was not Jung, but Toni Wolff. Eighteen years ago when I wrote the first draft as an

independent study project at Antioch University, I played the role of Emma. Toni was portrayed by a

talented actor, also a fellow psychology student. The characters mirrored some facets of our own

lives. I was older, a mother raising a family. She had not yet married, and, like the young Toni Wolff,

was enamored of ideas, launching herself in the world as a therapist. It was easy for me to nestle

in Emma’s wifely virtue, to write the early draft, titled THE OTHER WOMAN, as a conflict centered

on Toni’s “selfish” usurping of the role of Jung’s intellectual muse, and lover.

Happily the young woman who first played Toni saw through my moral superiority, asserting

a vision of Toni as a bold, avant-garde woman ahead of her time. Her wisdom brought dimension

and vitality to the work, still resonant in the present version.

Some critics of THE OTHER WOMAN found the play unsatisfying because Toni was not a

“sympathetic” character. Sadly, back then, I valued others’ opinions above my own creative

authority, seeing this as a writer’s flaw. If I had been a better writer, I reasoned, I could have

portrayed this “unsympathetic” woman “sympathetically”. But how could I ? Look at what Toni had done: decades of a relationship with a married man, in defiance of the pain it caused his wife.
I was stymied. I see now that the flaw was not in my ability to put words on paper, it was in my pin

headed one dimensional way of seeing human character: good woman/ bad woman.

Unable to make Toni “sympathetic”, I put the play in a drawer, for the next 16 years.

A series of synchronous events found me in the second half of life, empty-nested, awakening to

a new creative yearning, and with it, Jungian analysis. Another woman, psychoanalyst/actor, Rikki

Ricard, returned to my life. I realized she would make a fabulous Emma Jung, and asked if she would

be interested in doing a reading of this two-woman play. Happily, she was. I began to revise the work,

pouring over Diedre Bair’s JUNG, which yielded much more solid information about Toni and

Emma.

I reached for other sources, thrilled that I could now see ways to flesh out the play as never before. It also became clear I would take the role of Toni this time. No accident. It was time for me to wrestle first hand with all the brilliant light and the “unsympathetic” shadow of this woman.
It was illuminating to read the old draft with fresh eyes. “Not bad” I thought, “but there is so

much more to it...”I could see through to my own younger self, crafting the bones of the drama

between these women, but sidestepping the depth of complexity and tension that occurred when Toni

and Jung transcended conventional morality. This begs the question: to achieve psychological

wholeness is transgression of moral convention sometimes required? How do we navigate an

ethical boundary between self actualization and the principle, “First do no harm”?

And then there was Jung. I knew this new draft, now titled OUT OF THE SHADOWS,

had to include not only what made him fascinating, but the dark reality of some of his behavior. A

voice inside of me screamed, “sacrilege!’ I had just begun a two-year seminar program for prospective

Jungian analytic candidates. Wasn’t it the height of hypocrisy for me to be so in love with the

man’s ideas while waving his dirtiest laundry in public? What was I doing? But, whose story was this?

Wasn’t my fear playing into the very patriarchal paranoia women have been subjected to for years? I

realized it wasn't my job as the playwright of a creative work to protect the public image of C.G.

Jung. My job was to get out of the way and let Emma and Toni speak from the fullness of their lives.

I told myself not to worry about being sacrilegious, but to immerse myself in the characters.

Through the women I began to experience Jung as a very different person from the likable old

magician of MEMORIES DREAMS AND REFLECTIONS. The Jung that emerged in relationship

to Toni and Emma was brilliant, inspiring, brutal, selfish, inflated. I was enacting my own duel

reality, writing a play evoking a ruthless, flawed Jung, while in my professional Jungian seminars, I

relished presentations from dynamic Seattle analysts of his luminous ideas. We shared our cases, our

dreams, held lively debates, enacted fairy tales-- all of this possible because years ago Carl Jung sat

down to write about the visions emerging from his bounteously creative mind. Inspired by Jung the

thinker, I would go home and write a scene about Jung, the man, in which Emma poured out pain

and outrage to her husband, for his many transgressions against her.

Both “Jung’s” were real and valid. One side of Jung in my psyche seemed to be feeding the

other, as the women came forth with their own strong voices. The tension between the women

dramatized the tension of opposites; tradition versus the exigencies of intellectual passion; the striving

to define themselves in their own right, and in relation to the creative masculine. Jung came to

embody the patriarchy: its power to shape the modern world, to dominate, to idealize women,

to vilify them.

Toni, the “selfish” woman of the earlier draft, became a father’s daughter, suffering from

depression following his death. She had been raised as his intellectual air, allowed access to his study,

tutored in philosophy, literature, and the arts. (“What future is there besides, marriage to some

dreary man I will despise”?) Of course there would be a strong mutual attraction between her and this

older man, a father figure, a scholar, a doctor, innovating a philosophic/artistic science of treating the

wounds of the soul. Now that I was thunderstruck with my own dream analysis, and immersing

myself in the evolving complexity of Jungian psychology in my seminars, I understood completely

why Toni initiated the relationship with Jung with all the passion of her 24 years. It would have been

Was she “selfish”, “unsympathetic”? That seemed the wrong question. I recalled that Somerset

Maughm once said, “the job of the writer is not to judge, but to know.” But in this “knowing”, every

artist must also be as conscious as possible of the implications of their work. In my heart I felt I was

“channeling” the voice of these historical women, but clearly doing so from my own frame of

experience, values, and feelings.

As for Emma, she became multi-dimensional: a mother who enjoyed making mud cakes and

picking berries with her children; a wife who clearly understood her husband’s genius, yet longed for an

intellectual life of her own. She chose to stay married to her husband, despite the many ways in which

he was not responsive to her needs and desires. Why? What did it mean for her to be forced by Carl to

coexist with this “other woman” who usurped so much of his life. She tells Toni, “I would give my

soul to have what you have: his heart, his mind, his loins, on a platter.”

What did it mean for Toni Wolff to be an intellectual woman living in turn of the Century

Switzerland, a country that restricted women’s access to reproductive rights, property, higher

education, even the right to vote. It must have felt like life or death for Toni to seize the opportunity

to form an intellectual/spiritual/ sexual relationship with Jung, prioritizing her happiness over moral

dictates of her time.

In the fall of 2005, we did an informal reading of the revised version of the play. The response

was essentially positive, with many ideas for improving the work. We began rehearsals and performed

a staged reading in May, 2006, at the annual Forum of the Northwest Alliance for Psychoanalytic

Study in Seattle. In this version I had written Jung in as a character, a suggestion from a theater

director outside the Jungian community. She made the case to me that an audience needed to see the

actual man, as opposed to an off stage character referred to in monologues. I thought this might be

an important step in bringing the characters fully into being. The play still focused on the women and

their relationship, but there he was, in flesh and blood, holding forth his theories, loving both women,

championing Toni’s intellect over his wife’s, wrangling with Emma over his visits to Berlin during the

Nazi’s rise to power. No hiding the man and all the bold dimensions of his whole being.

After the premiere performance, I sat on the edge of the stage facing the audience, in the hair

and makeup of Toni Wolff, but now I was the playwright, accountable for what I had crafted.

A man asked, “Why did you choose to write about this, when you could write about anything you

wanted to?” I answered “ on behalf of Emma and Toni and all women: “This story seemed

compelling, and to reflect the struggle of women, throughout history--” I looked at him, feeling the

warm flow of guilt in my stomach, for “outing” the dark side of Carl Jung.

Another man asked, “Do you think Carl Gustave was a bad man?” “No, “ I said,

remembering my Jewish friend, who dismissed Jung as a Nazi sympathizer, “I think he was flawed

man, not a bad one”. What a liberating thing to say. “Bad” implied a one-dimensional condemnation

of the man. I thought of the demonizing rage many people have expressed against George Bush, a

sentiment mirroring his condemnation of the terrorists in the Middle East as evil incarnate. A man

who is ‘bad” becomes an object, not a man. Jung ultimately redeemed himself, in the play, and in

history, by finally renouncing Hitler and achieving a place on the Nazi black list. “Bad” is neither

black, nor white. The shadow comes in many shades of gray.

Watching the character of Jung in the play was a necessary step in its evolution. Even more

significant was my decision to take the scenes in which he appeared onstage, and rewrite them as

monologues. I borrowed a technique used in plays like THE BELLE OF AMHERST, the one-

woman play about Emily Dickinson, who speaks to unseen characters, placing Jung “out there” as a

presence sitting somewhere on the third row. This gave the play back to the women, where it

belonged. Paradoxically, Jung was more “outed” than ever, because now the audience received the

rage, indignation, confrontation of both Emma and Toni.

In playing Toni’s monologues to Jung I felt the full power of her rage. This man “who held my

darkness in his hands” deals harshly with her when he discovers another woman of intellect he deems

more appropriate to serve as his “lieutenant”. Toni characterizes his rejection of her as his

“Exterminator”, unleashing the full range of her emotions, from shock to alienation, depression, rage.

But the shift in her status with Jung opens new possibilities in her relationship with Emma, an unlikely

source of solace and womanly support. It becomes clear these two women share an emotional and

intellectual bond, by virtue of their mutual intimacy with Jung. What does it mean for both of them to

confront the prospect of “taking down the veils so thick between us”? What does it mean when

enemies can peer through the glass darkly to the essence of being of the “other”?

As for Jung, I took my cue from the women analytic candidate who expressed her anger at

him that night at the foot of the stage. There was a piece left hanging in the play that would provide,

if not resolution, at least an articulation of what I had learned on my journey. I knew that the real

authority on the subject was Toni Wolff. I had read that as soon as Jung heard of Toni’s death, he

burned all of her letters, so we have no record of the intimate correspondence between them. What if

Toni had written a final letter to him. What would she say?

I felt she would not use the word “forgiveness”. She writes to Jung not of forgiveness, but of

regret that when she was a young woman attempting to help him through his darkest hours, she did

not have the experience, or maturity of vision to guide him in confronting his “Inner Exterminator”.

She sees the split in his psyche, and chides herself for not having been “ a giantess of an analyst”. She

then laughs at herself, “A giantess of an analyst, what inflation!” But surely it is a hope of our

profession, that in looking at our darkness within and owning all the ugliness, all the light, we can

help to heal the world. I think of Alice Miller’s portrayal of all murderers on death row as victims of

abuse, the child Adolph Hitler almost beaten to death by his father. Don’t we love to think that if

Dora Kolf, the Jungian analyst who innovated Sand Play therapy, had been able to serve little Adolph

in her clinic, it would have made a difference in the history of the Twentieth Century?

Toni concludes her letter with emotion flowing from a woman’s heart, writing of her love

for his face, his “body so large it blocks out the sun”, his wild laughter. She sees the shadow, the

split, and still loves the man. After writing that letter, on Toni’s behalf, I realized I could no longer

separate “me” from the voices of Emma and Toni in my head. I’m not angry with Jung any longer.

The creative process opened doors for me into the minds of the women, and through their

eyes I see Carl Gustav Jung in all his brilliance, in all his darkness.

I embrace the wisdom of wrestling with the shadow. When Jacob did hand-to-hand combat

with the stranger through the night, the only way to save his life was to bless his enemy, who then

revealed himself as the image of God. When Jung evoked the recall to consciousness of the much-

beloved Sophia, he envisioned that She would inspire a multidimensional concept of God, part angel,

part devil, capable of advanced consciousness. Only through relationship with human beings, can

God experience the completeness his nature.

By “becoming” Emma Jung and Toni Wolff, I learned that that through the power of our

creative imagination, we can journey to the full dimension of our humanity.

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I'm an MFT Intern in California--graduated Pacifica 2004, MA Counseling Psych. I love the work I do with clients and consider it an honor to share the journey with other human beings. But it has been a struggle for survival as a single parent--managing nearly 20 hours a week in an unpaid internship on top of 32+ weekly hours at my "day job". Typical work days are 12-14 hours for me with little time for myself, and the financial pressure has been intense. And I know there are many of us engaged in this struggle.

I have been thinking a lot about the irony inherent in the intern/licensure experience. We are tasked with animating soul in the world and in our clients, and yet the process often leaves us little with which to animate our own souls. Reflecting on the archetypes of wounded healer, victim, martyr, savior, prostitute, etc. that are evoked by this kind of system, I am interested in what changes might be set in motion to create a healthier system and healthier therapists who can experience and model good self-care and high self-worth.

There is a clear relationship between the nature of the intern experience and our health care system, mental health parity laws, and insurance systems. A system that does not value mental health on par with physical health will not compensate mental health providers with parity. Because poor, uninsured, and disenfranchised people often cannot afford the fees of licensed therapists, there is a need for agencies which provide low-fee therapy. And how do these agencies provide low-fee services? Through unpaid interns! Then interns, who require 3000 hours supervised experience to become licensed, have no choice but to complete their supervised hours without pay. Only those who are financially independent or supported by someone else can commit to several years of work without compensation. The end result is overworked, underpaid, often highly stressed interns--like moi.

Maybe changes in health care and insurance systems will naturally result in changes to the internship process; this remains to be seen. As for me, I am considering my beliefs and mythology about what it means to be a healer, a keeper of the flame of soul in the world. And asking myself, "How I can approach this experience in loving support of myself, my clients, interns to come, and the future of our profession?"
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Organization
article by Lawrence H. Staples

the problem of the opposites

Jung recognized that the problem of the opposites is one of the most formidable obstacles to psychic integration. Even when we are able to integrate opposites there remains substantial tension between them. If the integration is so complete that the opposites literally merge, consciousness, as we know it, disappears. Consciousness of life depends upon the tension of opposites. So the problem is to bring them close together without a total merger in which one or the other of the opposites would lose its identity. This is indeed a challenging task.

To complicate, but also clarify, the problem of the opposites, I would like to share with you a quote from Jung that contains what for me is his most profound insight on the subject of guilt and its relationship to human existence. Jung said, “The one-after-another is a bearable prelude to the deepest knowledge of the side-by-side, for this is an incomparably more difficult problem. Again, the view that good and evil are spiritual forces outside us, and that man is caught in the conflict between them, is more bearable by far than the insight that the opposites are the ineradicable and indispensable precondition of all psychic life, so much so that life itself is guilt.”(1) It is important here to note that “side-by-side” for Jung does not mean a merger, mutual absorption, or synthesis of opposites.
q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=097760764X&tag=wwwmalcolmclc-20&width=104ir?t=wwwmalcolmclc-20&l=bil&camp=213689&creative=392969&o=1&a=097760764X
The idea that life itself is guilt is based upon conceptions of how human consciousness works. As noted earlier, consciousness itself depends on the existence of polar opposites. Guilt, therefore, which attempts to keep us from our “evil other,” is closely related to the formation of the opposites in our psychic anatomy.

the creative instinct

Fortunately, there is a powerful tool that can help us resolve the problem of the opposites. This tool is creative work. Creative production in art, as in life, depends upon bringing two opposites, the masculine and the feminine, into close enough proximity to produce a “child”(i.e., a book, a symphony, a painting, etc.) without losing the identity of the opposites that created the “child.” When we begin to do creative work, we connect to the deepest forces that govern all creation. It connects us to God, to the self within, to put it in Jungian terms. Reflected in our language is the Judaeo/Christian idea and belief that God and the creator and sustainer of all existence are one. The words God and Creator are in fact interchangeable in English as well as in other Western languages, such as French and German. The ultimate product of this process of psychological, inner creation is a stronger ego that increasingly approximates a reflected image of the Archetypal Self, which is whole and contains all of the opposites.

The Archetypal Self, or God, represents the totality; no stone is left out, all the stones are included in this totality. But a colossal lie stands in the way of achieving this totality. This is not about the existence or non-existence of the opposites, the dark and the light. We know they exist. The lie is in labeling one side exclusively good and the other side exclusively bad, as we tend to do. We know that creation is enabled by the existence of, masculine and feminine opposites. If we make one side good and the other side bad, we reject one of the essential players in the creative drama.

There is an instinct deep within us, although difficult to access consciously, that tells us that embracing the one-sided formulas for salvation, including the Christian advocacy of the exclusive primacy of love, will actually keep us from the totality of our selves. It is an instinct that actually is our salvation. It emanates from our duality. It tells us that we must love and hate everything at the same time. We must love the dark and the light and we must hate the dark and the light. Wired as we are, light has no meaning without the dark and dark has no meaning without the light. Each of these depends on the other for its existence. Without the one, there can be no consciousness of the other, and nothing exists for an individual if he is not conscious of it. If we are unable to maintain simultaneously in consciousness both our hate and love feelings, we cannot protect ourselves if we are abused—physically, psychologically, or sexually—by those whom we deeply love and those whom we need to trust.

It is our duality that causes us to be drawn inexorably to movies (e.g., Crash, Lawrence of Arabia, or A Civil Action) or to great art, literature, or music (e.g., the opera Tosca or the play Hamlet).(2) In Tosca,(3) we see Scarpia, on his knees, praying in church, while leering lustfully at Tosca. In the movie, Crash,(4) a policeman saves the life of a black woman whom just days before he had humiliated and mistreated. We see Hamlet indecisive and cowardly one day, and the next brave and sure. In Lawrence of Arabia,(5) Lawrence risks his life to save a man who he deliberately kills shortly thereafter. In A Civil Action,(6) a greedy, money-driven, ambulance-chasing lawyer finds a cause for which he is willing to sacrifice his career and fortune. And then there is Peter loving Christ one moment and denying him the next. There is a Jekyll and Hyde in all of us, in all people. We are drawn, as if against our wills, to these conflicting portraits. We are drawn to them and have feeling for them because we see ourselves in them, whether we know it or not. We are drawn to images that reflect ourselves, but protect us from the direct experience. To know that we have the same base feelings in us as Scarpia, right along side all of our goodness, is difficult to bear. We are drawn, nevertheless, to these characters and images because nature seems to have planted deep within us a developmental process that, through the agency of feeling, attracts us irresistibly closer and closer to our opposites. It attracts us to our opposites so that we can come together with them, side by side, in an embrace of creativity that leads us eventually to wholeness. As we experience in literature, art, and life, we are ineluctably attracted to realness, to three dimensionality, to wholeness.

Life might be easier, simpler, and less painful if our one-sidedness could be a sustainable reality instead of a wish. But, there are always two sides, regardless of whether we are conscious of them. The solution to this dilemma involves finding a way to honor both sides of ourselves in consciousness. This is the answer, but it is not easy to hold on to it. It involves a creative solution to one of life’s most difficult problems. The answer lies in a creation that depends upon intimate contact of two opposites without either being lost or subsumed by the other.

our unique identity

Ultimately, the creative act of self-development results in the formation of our unique identity. It is the most particular manifestation of our self. We all have a unique identity, not just Picasso or Einstein or Beethoven or Frank Lloyd Wright. We are not conscious of our unique identity until we have done a lot of work on our selves. People who study art, music, literature, or architecture can identify the painter’s, composer’s, author’s, or architect’s work without seeing a signature. They know that the painting was by Caravaggio or Manet, or that a piece of music was written by Stravinsky or Wagner, or a book by Hemingway, or that a building was designed by Louis Kahn or Frank Lloyd Wright. The creative product of the artist is his signature, and we recognize it because we have studied his work.

Each of us also has a unique signature. But, we must pay attention to our selves and do our own work in depth, if we are to recognize our own signature. We must do this for the same reason we must study artists to know their works. Thus, an important part of the work of discovering our selves is creative production and in-depth analysis. With time and effort we can come to know and recognize our own special signatures. Our physical identity is more readily visible and accessible than our psychic identity. There is always something unique in our physical identity; for example, the parents and siblings of identical twins can usually tell them apart. We have mirrors and can see our physical selves.

It is far more difficult to “see” our psychic selves. There are no psychic mirrors readily available to us, unless we had exceptional parents who could fully, without harsh judgment, reflect our selves back to us. We may still be able to see our psychic selves if we find a therapist who will do for us what our parents could not.

Creative work can also help us see our selves. Creative work is a mirror that can reflect our selves back to us if we pay enough attention. Therapists can help us in this regard, by helping us interpret our creative work.

In his book, The Restoration of the Selfir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=0226450139,(7) Heinz Kohut wrote at length about psychically wounded people and the therapeutic methods he used to help them. He found none more effective, or so essential, as creative work. He found, importantly, that it made no difference whether the creative work was deemed good or artistic by any standards. The simple process of doing creative work helped restore the self. It is as if nature plants within us a built-in remedy for our worst affliction, the affliction of being separated from large parts of ourselves. We experience this separation as a kind of inner civil war that divides us internally. It produces the pain and suffering inherent in any civil war, whether in our internal world or outside. It seems that the human urge to do creative work, to use all our stones to heal and restore our wholeness, is a compensatory impulse and blessing that arises from the psychic civil war that wounded us. In my own work as a psychoanalyst, I have witnessed the truth of Kohut’s findings. I have watched patients grow in wholeness as they began to work creatively in a variety of media that helped them recover and restore cut off parts of themselves.
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Creative work actually serves as a kind of inner parent that compensates for the flawed parenting we may have had as children. Creative work mirrors us in a way we were often not mirrored by our parents. Creative work mirrors us for the simple reason that we can see projected in it, if we look and interpret carefully, our own psychological and spiritual selves. Mirrors in all their manifold guises help restore the wounded self.

1 Jung, C.G., Collected Works 14, par. 206
2 Shakespeare, William, Complete Works of William Shakespeare, Grosset & Dunlap, New York.
3 Puccini, G., Tosca.
4 Crash Paul Haggis (director/writer/producer), Lion’s Gate Films (2005).
5 Lawrence of Arabia, David Lean (director), Robert A. Harris and Sam Spiegel (producers), Columbia Pictures (1962).
6 A Civil Action, Steven Zaillian (director), Walt Disney Studios (1999).
7 Kohut, Heinz (1983), The Restoration of the Self, New York, International Universities Press, especially pp. 53-54, 10, 17-18, 40, 158 and 289.


This article by Lawrence Staples is an excerpt from Guilt with a Twist: The Promethean Way.

Lawrence H. Staples, Ph.D. is the author of the popular Guilt with a Twist and the recently published
The Creative Soul
: Art and the Quest for Wholeness

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on sale now for $17.95 ea or $30.00 for the pair!

in the US call 1-800-228-9316
International call +1-831-238-7799

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Now Available from Fisher King Press

Divine Madness: Archetypes of Romantic Love
By John R. Haule
ISBN 978-1-926715-04-9, 292pp Index, Biblio, 2010

Divine Madness: Archetypes of Romantic Love examines the transforming experience of romantic love in literature, myth, religion, and everyday life. A series of psychological meditations on the nature of romantic love and human relationship, Divine Madness takes the perspective that human love is a species of divine love and that our experience of romantic love both conceals and reveals the ultimate Lover and Beloved. John Haule draws on depth psychology, the mystical traditions of the world, and literature from Virgil to Milan Kundera to lead the reader inside the mind and heart of the lover.

Each chapter explores a characteristic aspect of relationship, such as seduction and love play, the rapture of union, the agony of separation, madness, woundedness, and transcendence. Focusing on the soulful and spiritual meaning of these experiences, Divine Madness sheds light on our elations, obsessions, and broken hearts, but it also reconnects us with the wisdom of time immemorial.

As a practicing Jungian analyst and former professor of religious studies, John Haule masterfully guides his readers through the labyrinth of everyday experience, and the often hidden layers of archetypal realities, sketching a philosophy of romantic love through the stories of the world's literature and mythology.

About the Author
John Ryan Haule holds a doctorate in religious studies from Temple University. He is a Jungian analyst trained in Zurich and is a faculty member of the C.G. Jung Institute-Boston.

Place your order for Divine Madness: Archetypes of Romantic Love at the Fisher King Press online Bookstore.

Also available from the Pacifica Graduate Institute Bookstore
Phone orders welcomed, Credit Cards accepted. 1-800-228-9316 toll free in the US and Canada, International +1-831-238-7799.

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Fisher King Press / PO Box 222321 / Carmel, CA 93922 /
Phone: 831-238-7799 / books@fisherkingpress.com / www.fisherkingpress.com
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Absolutely fascinating interview of Dr Metzinger on the Brain Science Podcast. Follow this link to download the podcast\. You can even download the transcript of the intervew by clicking here.

Metzinger argues that any credible model for how the brain generates the mind must incorporate unusual human experiences, such as so-called out of body experiences (OBE), and psychiatric conditions. In this interview we explore how OBE and virtual reality experiments shed light on how the brain generates the sense of self that characterizes normal human experience.

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“the psychological problem of today is a spiritual problem, a religious problem . . .”
—C.G. Jung, C.G. Jung Speaking: Interview and Encounters,
“Does the World Stand on the Verge of Spiritual Rebirth?”

A psychological and spiritual reckoning, Farming Soulir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715012 questions theories and assumptions that date back to the early 1900’s and the days of Freud, assumptions which have too often separated spirituality from psychology. Suffering the trials of her own individuation process, Patricia Damery finds answers through a series of unconventional teachers and through her relationship to the psyche and to the land—answers that are surprisingly deeply intertwined.

One strand of Farming Soulir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715012 is about redeveloping a relationship to the land—Mother Earth—being rooted in a particular place and being guided by the tenets of Rudolf Steiner’s Biodynamic agricultureir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1855841487. Another strand is about Patricia Damery’s professional path of becoming a Jungian analyst, which includes the exploration of four aspects of the body: the physical, the etheric, the astral, and the mental. We are acquainted with and have similar assumptions about the physical body, but we are mostly unfamiliar with the three supersensible bodies. Jung and two of his closest and well-respected colleagues, Marie Louise von Franz and Barbara Hannah, address the subtle body in their writings, but analytical psychology (and psychology in general) has avoided this aspect of Jung’s work.

Farming Soulir?t=wwwmalcolmclc-20&l=btl&camp=213689&creative=392969&o=1&a=1926715012 is a courageous offering that will help to reconnect us to our deeper selves, the often untouched realities of soul, and at the same time ground us in our physical relationship to self and Mother Earth.

Patricia Damery is an analyst member of the C.G. Jung Institute of San Francisco and practices in Napa, CA. She grew up in the rural Midwest and witnessed the demise of the family farm through the aggressive practices of agribusiness. With her husband Donald, she has farmed biodynamically for ten years. Her chapter, "Shamanic States in Our Lives and in Analytic Practice" appeared in The Sacred Heritage: The Influence of Shamanism on Analytical Psychology, edited by Donald Sandner and Steven Wong, and her articles and poetry in the San Francisco Library Journal, Jung Journal: Culture and Psyche, Psychological Perspectives, and Biodynamics: Working for Social Change Through Agriculture.
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What is Depth Psychology?

What is YOUR definition of Depth Psychology???
Here's (the beginning of) mine:

Depthpsychology, a term first coined by Swiss psychiatrist, Eugene Bleuler, around the end of the 1800’s, has its beginnings in the work of Sigmund Freud and
another Swiss psychiatrist, Carl Gustav Jung, along with Pierre Janet
and William James. Depth Psychology explores the hidden or deeper parts
of human experience by seeing things in depth rather than taking them
apart. Certainly, it involves deep inquiry into the symbolic meaning of
things, of symptoms, images, and emotions that arise in one’s life,
influencing each of us regardless of whether we are aware of it or not
(Ellenberger, 1970). It includes aspects of Psychology, Philosophy,
Mythology, Anthropology, and Ecology and the way each of them
influences us as individuals. These fields affect how we relate to
ourselves, each other, and our culture, our species, and our planet as
well. Above all, Depth Psychology is a study of the Unconscious, that
which is outside of our awareness and which we unable to know directly.

Read the whole article at http://www.depthinsights.com/pdfs/On_Depth_Psychology.pdf
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