Tag Archives: mental illness

Nowhere Where it Isn’t Crying in You

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Reflections on an Inspiring Quote

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“It is not first this, then this, then that – the whole person comes into motion.
There is nowhere where it stays as is, when I begin to allow movement.  
There’s nowhere, when you have to laugh, where you don’t laugh.  
Or you are only partly involved with laughing.  
Nowhere, when you are crying, where it isn’t crying in you.  
Does that make sense?  
In other words, to give myself to something means not to go point by point.”
Charlotte Selver

Before you read on I suggest you pause, read the quote again, and let it sink in.

What is your response?

Here’s what happened with me: “Yes! What a powerful, awesome statement. This is how we ought to live. Fully alive. “Nowhere, when we laugh, where we don’t laugh.”

And then: Oh, no. I don’t live up to this at all. After all these years of practice, I am still not fully involved. Rarely is my experience even close to this. I need to work very hard to get there.

And then: Wait! Just because Charlotte said this, is this really what is supposed to happen? This may have been Charlotte’s experience but is it mine?

Nowhere, when you are crying, where it isn’t crying in you: The fact that this has ultimately not been my experience, has probably saved my life. There have been times when I was so depressed that it seemed like there was nowhere in me, where I wasn’t experiencing depression. Life became unbearable. But then I discovered (thanks to Charlotte’s practice of Sensory Awareness, nonetheless) that there were places in me that weren’t at all depressed. I noticed that my feet felt usually very good, even when I thought I was ‘completely’ down. Not a shred of sadness in my left foot, no tears but only sensations, pleasant ones to boot: tingling, subtle adjustments towards the floor and – as I continued feeling – triggering a sigh and a deep breath which gave me much-needed space in my chest. No depression in my lower belly either but warmth and softness.*

What’s more, when I continued to feel what was going on in and around me, I noticed that what felt so unbearable was only taking up relatively little space in a bigger context, while the rest of me and my surroundings felt quite different. It just ‘shouted’ so loud, I couldn’t feel anything else. This recognition didn’t mean that all was well. There was still tremendous pain. But by having a larger context and places to ‘go to’ that were not infected by mental illness, I was able to hang on and find my bearings again. This is no recipe for all and for any circumstance, to be sure. But it has been – and continues to be – tremendously helpful in my life.

I have no desire to fault Charlotte. What she said in this Sensory Awareness Leaders Study Group in 1987 is something to deeply explore. This inquiry can be of tremendous value and will lead to important discoveries. But it is not something to blindly believe or to attach our hopes to, maybe not even something to aspire to. That’s for each of us to find out.

“Trust your nature more than a teacher. Teachers are dangerous.”
Charlotte Selver

In my work on a biography of Charlotte Selver, I have become very interested in finding out ‘what actually happened’, when I hear or read something. In my research I have noticed that surprisingly often what people say or write about someone is stated as though it  happened just that way, when indeed it was a story that had been passed down ‘the line’ much like in that beloved telephone game. That is not to say that it, or something like it, didn’t happen. It may well have but then again, the original ‘experiencer’ might not recognize our account of it.  I have also learned that writing about someone (even myself) is at best an approximation. Even when we quote them verbatim, we might still miss their point, and can probably only make our own. And that is okay, too, as long as we aware of it.

So, in the interest of full disclosure: The first quote is verbatim, from a transcript of an audio recording. In that sense, the quote is ‘accurate’. But it is also taken out of the context of a two-hour session and the particular chemistry of the time, place and the group of Sensory Awareness teachers with whom Charlotte worked. And – I was not at that workshop to witness how it happened. All that said, I intend to use the quote unquestioned in a chapter titled How Does a Movement Begin? It fits perfectly and it seems to belong in the particular context.

The second quote is from my on class notes, taken during a workshop with Charlotte in 1991 in Austria. I took the notes in German: “Vertraut eurer Natur mehr, als einem Lehrer. Lehrer sind gefährlich.” I wrote this down right after class, so chances are this is what Charlotte actually said – or approximately. But I cannot reconstruct the context and can’t really recall that particular class. I wonder what other participants might have jutted down or remember.

* See “Beauty and the Beast”

** Photos are like quotes: They can inspire and move us. They can also be deceptive. I took this picture in Charlotte’s living room, probably during a break or at the end of a workshop she gave (aged 100!) I don’t quite remember, though I do remember taking pictures while we had tea with friends, fellow Sensory Awareness leaders. It was not a photo session and Charlotte didn’t like to be photographed. I don’t remember why she held up the gong striker but probably to threaten me because I took pictures. Then again, maybe she was posing. In any case, I am sure we laughed. Charlotte could be very funny and silly. Were we ‘all laughter’?

Anxiety, Trees and Clouds

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With lots of resistance to feeling it, I wonder why I would resist the presence of anxiety but not the tree’s presence across the field. Granted, the anxiety is very unpleasant* but it is it really unbearable? Don’t I perceive it just as I perceive the tree? Is it essentially different? It is here and it won’t go away, not now or anytime soon anyway. Can I turn to anxiety just as I would look at a tree? I quickly realize that by focusing in on the pain my resistance grows. I just can’t be with it in this way. It is too much, it is too painful. Forcing to meet it head-on does not help.

This is when I actively begin to notice things I am seeing through the window. They are there too. What if I spread my attention, noticing non-threatening things, going from tree to tree, occasionally weaving in the sensations of pain and anxiety?

Just like this tree is here, this cloud, this chair, anxiety is here. It is just one of the things present. Would I want for the tree to go away? Would I want this cloud to change? That pain is here just like everything else is.

Letting my gaze wander I keep saying out loud: Here is a tree, here is a house, there is a goat, here is anxiety, here is a treetop, there is a cloud, there is a wall, here is this pain, here is a tree, here is a fence, here is resistance, here is the vibration of my voice. The wind blows through the leaved branches of the maple tree. Breath blows through the tightness in my chest.

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Autumn over Norway Pond

By and by, anxiety becomes part of the landscape. It is simply what it is, no need to resist it, no need to take it personally. No need to zoom in on it in a vain attempt to blow it out. The ground under me holds it just as it holds me. A sigh of relief, when I feel that support. I don’t have to hold that pain, the earth does.

The pain doesn’t disappear by this recognition but I feel supported and ready for the day.

* Is this accurate use of language? Can anything be inherently unpleasant? The sense of unpleasantness is not in that thing but a response in the perceiver. That’s not inherently bad either and can be very good for survival. However….

“There is Always a Form”

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While teaching in Europe and with little time at hand for writing, I’d like to share with you some fascinating interviews I conducted as part of my Charlotte Selver Oral History and Book Project. These interviews are an important source of information for my work on an extensive biography of Charlotte Selver, but beyond that they are a wonderful collection of voices in their own right of people whose lives have been touched by her. Enjoy!

 “There is Always a Form – Charlotte Selver’s Form was Awareness”

A Conversation with Bonnie Bainbridge-Cohen

Bonnie Bainbridge Cohen is a movement artist, researcher, teacher and therapist. For over fifty years, she has been exploring movement, touch and the body-mind relationship. An innovator and leader, her work has influenced the fields of bodywork, movement, dance, yoga, body psychotherapy, infant and childhood education and many other body-mind disciplines. In 1973, Bonnie founded The School for Body-Mind Centering®, dedicated to the development and transmission of somatic practices based on embodied anatomy and embodied developmental movement principles. In addition to programs at her school, Bonnie has taught workshops throughout the U.S., Canada, Europe and Asia. She is the author of the book Sensing, Feeling and Action and has several DVDs on Embodied Anatomy and Embryology, Dance & BMC, and working with children with special needs. She is currently producing other books and DVDs. 

Stefan Laeng-Gilliatt: Tell me a bit about your work.

Bonnie Bainbridge-Cohen: It’s hard to describe. The form is the embodiment process. With Charlotte, the form is the awareness. It’s not about any particular thing, and in that sense they’re similar. I always felt kindred spirit. I don’t know very much about Charlotte’s work. She didn’t know very much about mine, but there was that meeting.

I remember before our first meeting at Esalen*, I sent a video of four children that I was working with – maybe twenty-five years ago – and when she saw it, she said: “And she didn’t study with me either!” Our work was just similar. I remember once, when Charles was still living, we did something with sandbags. They gave me this sandbag, and I just felt the spirit was in the sandbag, but it wasn’t about sandbags.

Most of my memories of Charlotte are just playful and pure delight. One of them is my throwing Charlotte to the ground. I don’t know what we were disagreeing about – something. She wouldn’t listen to me. I would say, “Charlotte! Listen to me!” And she’d go, “Aahaahaahahhha.” I said, “Charlotte, you have to listen to me. If you don’t listen to me I’m going to throw you to the ground!” “Aahahahah.” So I took hold of her and I threw her to the ground very gently. We just had that kind of a playful connection.

We were always laughing. Once we went to this little bird house that she had in Big Sur on the cliff. I happen to not like heights and she just – was a bird. She loved that house. I didn’t even want to go inside. But going up to the house she was so happy, she was running. She was like a bird, flying up the path.

Bonnie and Charlotte were part of a two-year training in Esalen on Somatics for professionals in the field. From left to right: Michael Marsh, Don Hanlon Johnson, Bonnie Bainbridge-Cohen and Len Cohen, Charlotte Selver, Seymour Levine (one of the founders of psycho-neuroendrocrinology, Stanford Med School); Robert Hall (the Lomi School). [ca 1989; photographer unknown]
Stefan: That’s interesting you say she was a bird. I don’t think I’ve heard anybody say that.

Bonnie: Together we were birds – I wasn’t the bird; she was the bird.

Another time we met at a ZIST**-conference in Garmisch Partenkirchen in Germany. I walked – we didn’t know we were going to see each other – and she just ran, at this age, she just ran with her arms open. I think she left her cane behind. She had that light spirit. In that particular conference I brought out a hundred air balloons blown up and a hundred water balloons and spread them among 1,200 people. The person before me was Thich Nhat Hanh and everything was very quiet and peaceful. And then I brought all these toys and these balloons and the people went crazy. It was wonderful. And afterwards Charlotte asked if she could use the balloons for her workshop. So there was that playfulness that we shared.

Stefan: Can you say something about Charlotte’s place in the somatic movement, or the importance of her work.

Bonnie: I consider her one of the forerunners who prepared the way for me. I see her in the lineage even though I’m not in her exact lineage, I’m certainly in the lineage of the broader path. I also come out of the Laban work. I’m very influenced by that whole school which came out of Germany.

Stefan: She really respected what you were doing, though she no doubt had little idea of what you were actually doing. But one thing that I remember she said was something like: there’s too much form or dance or, you come from performance.

Bonnie: Yes, there’s a lot of form in our work. The form is very important, but it’s a changing form – it could be any form. There’s always a form, but her form was awareness. I mean, if you pick up something there’s a form if you are sensitive to what you’re holding. But I came from a dance background and working with children with special needs. I was certainly much more form oriented. But the essence wasn’t form, and that’s where we met.

Stefan: I don’t know your work either, but to me that question of form has always been intriguing, and it’s hard to talk about it. Charlotte certainly did not want a form in that sense, and she also certainly stayed away from expressive movements. That was her struggle because she came from that. With Gindler she said she had to unlearn so much. Before that she did Bode Gymnastik, which was very expressive and she had to shed that. Then, whenever she saw, or thought she saw, expression or form in somebody’s movement, she would want to work to shed that. But in my experience too, we cannot but express ourselves in some way. There’s always some kind of form and expression, and I’m really curious about that edge of being true, being connected.

Bonnie: In any form. Or all forms. That’s my exploration. But how one is the form, not how one makes a form.

Stefan: When you say form, what do you mean? Do you have particular movements that people do?

Bonnie: No. Charlotte gave up form where I went back to understand my form. Right now I have two yoga programs here in California. And one where we focus on embodying different tissues. In the yoga, we’re not creating a new form. It’s just whatever your form is, how do you embody it? What’s your style? It doesn’t matter. But are you just making a style? Or are you really a warrior? Is this a warrior pose or is this a loving pose? It’s very much about expression, but what is it when you are that?

Stefan: And how do we know?

Bonnie: If I say move your pinky finger, how do you know you’re moving your pinky finger when you don’t see it? You still know it. I’ve worked with a lot of dancers through the years. What is the principle for a dancer or athlete? That’s the same for a baby or a child who has severe cerebral palsy or someone with muscular dystrophy or multiple sclerosis or arthritis. What do we all have in common? This isn’t pathological.

These children that have severe challenges – people approach them from the place that there is something wrong with them. But they are what they are. That’s their form. Let’s honor them for what they are bringing into the world and what they have to teach us. Their form is perfect, not imperfect. I see them as my teachers. This is the place I meet them. And the same principles of movement and consciousness apply to them as to anybody.

How do we reach that level of being who we are, whatever that is? As soon as the egg and the sperm do their dance there’s a marker that goes to the membrane in which your immune system knows what is you, and there’s never been another marker like it, and there’ll never be another marker again. We’re that unique. So, how do we come to really know that marker, or that essential drone, if you think of music, that vibration that is our own?

Stefan: Would you want your clients to consciously remember? Or is it more about embodiment of that?

Bonnie: The grown-ups are different than children, because we do have a kind of conscious intelligence. We use that, but ultimately need to let go of it; otherwise you’re always witnessing, you’re not actually participating. There’s a level at which you feel the sandbag, you consciously feel it, and in a way you just forget about it. You know the sandbag. You don’t have to keep witnessing it. But in the beginning you would focus your attention because otherwise you’re just not remembering. It’s nothing to learn. And that I think Charlotte and I have in common – we never talked shop, by the way. We just played….
Maybe Charlotte thought of unlearning, when you said a form.

Stefan: Yes, the unlearning of what is extra, what is not needed, so that we then are free to connect with what is now rather than with what we have learned.

Bonnie: So it’s not a gaining from somebody else on the outside but from your own experience.

Stefan: Yes, I think that was really Elsa Gindler’s major turnaround, as I understand it. She came from teaching a form to say: if you really become sensitive to what wants to happen, what happens then? Rather than: Do this or do that. That exploration. It is really starting from not knowing every time. And I do hear that from you too.

Bonnie: Yes, it’s always the not. So students will say: “Well I don’t know.” I say: ”Great, just stay there.”

Stefan: When I first asked you to tell me about your work, your immediate response was what our response often is. It’s very hard to talk about it. It has a form, but it’s beyond that form.

Bonnie: Or the form is the process.

Stefan: So what is the goal of your work?

Bonnie: Just to enjoy the day.

Stefan: To enjoy the day.

Bonnie: Why not? Whatever you do. Because they can always get worse. Even when I was so very ill – not to say I didn’t suffer greatly – I still looked for what was in the day that was quite extraordinary. It doesn’t take away the suffering but it doesn’t waste it. (Bonnie was housebound for three years due to a collapse from post-polio.)

Stefan: In our work gravity is so important. I actually don’t call it gravity very much anymore. I call it the attraction of the earth, because gravity to me sounds like it’s a thing, but what it is is a relationship with the earth, the earth’s pulling on us constantly, and then our response. Gravity and then the support of the ground is so central, and was so central in Charlotte’s work. How does that play into your work?
Bonnie: It plays a lot. We are looking at gravity, and we are looking at space – which I know you’re doing too, but in a different way. We say, if you only feel the gravity, you can’t stop it. If you feel the gravity and the rebound, the anti-gravity, and the pull of heaven, then you have lightness.

Stefan: Charlotte never used the word space. Well, I shouldn’t say that. But that’s not something that comes to mind – space. She certainly worked with it, but not . . .

Bonnie: And she also had it. I think she was so spacious and light, and this bird quality, that gravity for her would be like the balance. But also the sun is drawing us.

Stefan: Tell me more about that. You also said the pull of heaven.

Bonnie: We’re in this position, we are the bridge between the earth and heaven. I mean, fortunately there’s attraction out there. Otherwise we would be chaos. We are rotating around the sun, and this is rotating around that. There are all these pulls. The moon is pulling on our fluids. We are under the forces of the universe. We’re spinning off the earth, but we’re also being pressed into the earth.

And we carry our ancestors. I don’t know about past lives. That’s not where my attention goes. But I know we carry all of the experiences of our ancestors. We have talked about genetics like gravity. It’s this thing that looks like this. But that thing was developed from experience with relationship to the world, and to the family, and to the emotion, and to the gravity. I always feel we heal our ancestors as well as ourselves. We’re a time machine or something. It all exists right now. I don’t know if that makes sense. So we also look at time. We are this collection and it makes a difference whether we feel it by remembering or by being. It’s not just: oh yeah, my grandfather was this and my grandmother was that, and we can trace back to seventeen hundred and something.

I’m interested because Hanna (Bonnie’s grandchild) comes from two languages that are getting lost – if you go to the generation before me and before Len and before Hanna’s other grandparents. The Okinawan speak Japanese now; they’re losing the roots of their culture, the Yiddish of our parents’ generation (except my father was English) – on my side three out of four – not the history but the successiveness is wiped out. How interesting, this little girl. If she goes back that far, the languages and the cultures are fading. And at the same time, all the possibilities that she has by this shadow of who she is.

Stefan: So in that sense, where we come from is really important because that’s – can we say, that’s who we are?

Bonnie: We carry all of those experiences. Whether or not we ever know our ancestors, our grandparents or parents or whatever. My parents met and were in the Ringling Bros. & Barnum and Bailey Circus, so I grew up in the circus. After my mother quit the show when I was eight and they separated, and then my father, when I was fifteen, they closed the big top, I never wanted to go to the circus again. And then, when my mother died, the circus was in town. We went and I had no connection, because it was indoors. It wasn’t the stench of the elephants and the animals. There was something on television – Cirque de Soleil. It’s so boring to me. I see them doing these things. It has no meaning. And television has no meaning, because after this, there’s nothing they could do on TV that would compare – I mean these people were risking their lives every moment in performance.

This is why I would not want to take this form out of my existence. Where if I had a form that felt artificial – certainly there’s nothing more artificial than this circus getup. They dressed and everything was superficial on the outside, but there’s something real about death-defying acts. Inside they were risking their lives.

Stefan: So it’s very real in that sense.

Bonnie: Yes. It’s a paradox. So that’s an insight for me, when you say that, talking about Charlotte. I would not want to take away form. When I think of the man who led the circus band. He never missed a show in over fifty years. He would say, “Ladies and Gentlemen, and children of all ages, welcome to the Greatest Show on Earth,” and the band would hit up. Over fifty years. How could you erase that? Who would want to?

Stefan: This is fascinating. I like exploring form.

Bonnie: Yes. I know Charlotte had form. It’s just that she wanted it to be real.

Stefan: Yes. And no doubt we do have form. Or we are this form. And it comes from – from our ancestors.

Bonnie: And from our daily life, our environment.

* As part of a two-year training on Somatics for professionals in the field – see photograph.

** Center for Individual and Social Therapy, Munich

The Never Ending Story(s) of the Confused Mind

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Strong, agonizing pain, emotional distress in my chest this morning when I wake up. No words to it – but thinking is very active trying to figure it out, trying to untie the knot. The unpleasantness of the pain sparks aversion. Not all the time – for moments it is just pain, just sensation. The next moment again it seems unbearable and I want it to end.

The internal battle begins:
“This has to go away, it is too painful, it is frightening.”
“No! I have to do something about it, accept it, feel it, be with it. I shouldn’t have an averse reaction. I should only be patiently feeling what is happening. I should not have the wish for the pain to go away.”
“No! It’s okay to have these thoughts and feelings of aversion. Don’t try to get rid of them.”
“No! This is unbearable. It has to stop.”
“No! I should completely accept the pain.”
Anger rising, frustration, agony.
This is the perpetual battle of the confused mind. No solution will be found here.

It appears to be almost impossible to simply stay with sensation that is unpleasant. Especially when it is emotionally charged. There always seems to be an expectation that it go away or that at least it could be understood.

Here it comes again into the foreground: burning pain. But now it is not as much emotion as it is sensation. I can be more easily with that.

I take refuge in a place that is at peace, somewhere between bellybutton and sacrum, an open space, vast and dark: From here all is fine.
From my chest nothing is fine: Burning, fear, doubt. Here is the realm of judgment, the battlefield of right and wrong, where nothing will ever be solved. It is the kingdom of never-ending uncertainty. Its only match is breath.

Breath: Somewhere between the peace of the belly and the terror of the chest, preferring neither. Breathing is the neutral force, where what is, is just what it is. It is as though breathing keeps the two sides from one another, from getting at one another, creating space, as it were, between good and evil, between pleasant and unpleasant. Equanimity.

It is very important to distinguish between perception and thinking. This burning sensation in my chest right now is simply sensation. There are absolutely no words attached to it. There is not even like or dislike attached to it. It is just sensation. I can describe it with words: burning, for example. I can have an internal dialogue about it, analyze it. But there is no trace of that in the sensation itself. Is there any inherent aversion? No, but that response is very close, like the moon circling the Earth.

Please note, especially if you have not read my last post on exploring:
These writings are not theory but practice. They are not a map but reports from the territory, from the immediacy of experiencing. Maps are available @ Sensory Awareness, Buddhism, Psychotherapy and many other locations. I recommend that you study them and that you follow the advice of an experienced guide when you need it – and I hope that you’ll know when you do. I sometimes think I know my way and get terribly lost. I have also used maps showing trails going nowhere. That’s even worse than not having one. At times, however, it is good to have the map snatched out of your hand and get lost in the pathless land so you can find your own way – or simply sit down by a brook and enjoy where you are.
Then, there is also the W.C. Fields attitude in International House, when someone suggested that maybe he is lost, he responds: “Kansas City is lost! I am here!”

Mindfully Into Misery

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or The Blessings of Skillful Thinking

On my way up Bald Mountain I sit down on a rock to better connect with where I am. My gaze sweeps over the hilly landscape but my attention is absorbed by emotional pain and – just as much – by the aversion to that experience. What to do? What I want is to be connected with my surroundings and not distracted by internal turmoil. What I experience is how attention does not stay with what I want, agony, and resistance. Together they constitute a toxic brew.

I finally give in and allow for the sensations, emotions, and thoughts of distress to take center stage: The power of depression, of the “desire for nonexistence”, of the aversion to my experience – even to seeing budding leaves on nearby maple trees – is remarkable. All life seems to point back at my pain, magnifying it.

Paying attention to difficult emotions in this way, I seem to give them even more power. They take over and flavor all experience with a strong, bitter taste. Mindfully, I spiral down into more negativity.

It is then that the thinking mind interferes with a wholesome suggestion: How about if I bring my attention to neutral sensations rather than either trying to stay with what I deem positive and relevant around me or unpleasant but important – because it is strong – within me?

I immediately notice a plethora of neutral bodily sensations: stillness in my lower belly, the subtle warmth in my left thigh, tingling in my fingers. As attention begins to willingly settle there, these neutral sensation become a refuge where I can drop confusion and recuperate. How calm it is here and how quickly joy regains strength! The pain does not go away, but the bedrock of neutral bodily sensations holds it with warmth and care. Anguish so becomes but one of an array of things happening this moment: wind blowing through the still bare branches of deciduous trees, the song of a nearby finch, cold stone, the glistening surface of Willow Pond, sadness, the beauty of the wooded hills, joy of being.

Invigorated I get up and walk on. I am intrigued by this experience. By intentionally directing my attention away from the screaming foreground to the subtle background “hum” of neutral bodily sensations I was able to contain what would have otherwise pulled me down into an abyss of negativity. I usually tend to let attention go to what is strongest, believing that this is how to properly be mindful. But when I am not grounded by what may not shout but offer its unwavering stability quietly, I can mindfully drown in misery.

This willful choosing of a certain segment of my experience over another stands in contrast to the notion that I have to focus on what calls for attention most urgently, especially when it is unpleasant and painful. It goes against the belief that I cannot choose my experience but that I have to take what is given, i.e. what screams loudest. However, by choosing subtle bodily sensations I did not reject the painful experience. In the end the opposite was true: Opening to the whole spectrum of what was there and then intentionally taking refuge in neutral ground, I was able to gain perspective and open up to the pain rather than being overwhelmed by it. The uplifting effect of this experience on the whole day was remarkable.

Beauty and the Beast, Part 2

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Part II: Fluoxetine

And suddenly nothing I have learned seems of any use.

Actually, this is what I’m telling myself: “I have learned nothing in all these years. What a failure I am!” Decades of practice vanish in a black hole of a very different nature. I wake up in the morning and the first thought is: Oh no, I do not want to be conscious! I cannot stand being awake. Pressure and burning in my chest, fatigue, despair.

Can I be present with it? For a moment – but that only increases the agony.

I have to get up, it is time to make breakfast for the family. I go downstairs, put a kettle of water on the stove. I do not know how to make breakfast. I open the fridge, peer into it, hoping that something in there well give me a hint. I stand and stare, pressure is building up in my chest and tears start rolling down my cheeks. I wish I could die.

Footsteps in the bedroom above me and then noisy little feet running down the stairs. My son enters the kitchen, excited about the new day, happy to see me and ready to do something together. I quickly dry my tears, turn around and smile at him. “I need to make breakfast. Can you play on your own?” No, he cannot. He wants me.

I cannot either! I can’t be with anybody right now. I can’t make breakfast. I am bursting – and I push it all down. I have to function now. How to make breakfast? Okay, I need to ground myself, feel the floor under my feet, feel the cool milk container in my hand, follow breathing. I know how to do this.

Fuck! I can’t, I can’t stand being present. It hurts too much. I’m about to explode.

My wife has since arrived in the kitchen. She notices my state immediately, asks: “You’re having a hard time, don’t you?” I can’t stand that question. I do not trust that it comes from a place of care. I hear it like a complaint. I mutter: “I’m okay”, and continue with the impossible task of preparing breakfast.

Somehow, I manage to, I even get lunch together for Julian, but when it takes him forever to brush his teeth and hair, the buildup of pressure gets to a point where I start loosing it. My voice gets louder and more impatient and I finally break out in tears. “Just do what I ask you to do, please! I can’t deal with this any longer!” The result is as immediate as it was predictable: now Julian is upset too and won’t brush his teeth at all. My wife is upset because my state is affecting everyone.

Driving to school goes well. Julian has regained his good mood, we chat and have a nice time together. I drop him off and head back home. The person in the car in front of me is driving very slowly. Pressure building up again. “I need to get to work!” I shout. I can’t stand this anymore. Suddenly I have a very strong urge to drive off the road, crash into something and kill myself. What a relief it would be to put an end to this misery. I cannot see another way out. This has been going on for too long. Then I think of my son, I think of my wife, and I know that is not an option. I drive home, devastated, full of shame.

Such a predicament, like anything, arises through causes and conditions. When a lifelong predisposition finds fertile ground the beast can mature. I’d been there before. I will not expound on the causes for the current bout of depression; they shall remain private.

The buildup was slow and steady. It did not go unnoticed but I am a meditator with lots of practice, I’m a Sensory Awareness leader, I should be able to help myself. That is, in part, an honorable attitude. I really want to find out how I can heal by applying all that I have learned. But there is also this kind of thinking: This shouldn’t be happening to me considering all that I have done!

But life is not a rewards program and here it is: suicidal depression. Nothing seems to help. Shame certainly doesn’t and neither do guilt and pride. Alas, here they are, mixed into the poisonous brew. I try all kinds of natural remedies and supplements but nothing does the trick. Therapy doesn’t seem to help either, nor does talking with friends, or running or hiking, though these attempts at least give me some relief. It is good to have friends.

When these friends suggest that I take medication for depression I do not want to hear, though. That is not a solution for a person of my stature. My practices must work. How could they not? And if I can’t help myself how can I help others? What “helps” the teaching role: As a long-time meditator I have the “advantage” of being able to keep a good posture even when my limbs are in danger of withering away.* Actually, I have always been good at that: looking calm while screaming on the inside. I received compliments for my composure even as despairing teenager.

For how many months can I make myself believe that I can get through this with my skills? Three, six? How about a year? It only gets worse and finally I come to a point where I have to admit to myself that I can’t go on like this. I may be a failure but I need medication now. The shame! But I had come to this point once before in my life and was helped by antidepressants in a short time. Could I let myself be helped again in this way? Oh, the humiliation!

I finally give in. Within three weeks I feel much better and able to cope with life again.

This was last summer. In the fall I stopped taking fluoxetine and for a while I seemed fine. But then came our move from the Southwest to New England. All I’ll say is this: moving, selling and buying a house – very stressful! I had to resort to the pill again, even take something for anxiety and sleep for a short while. Don’t tell anybody. It will ruin my reputation of always being calm and dispassionate, even funny – and an accomplished teacher too.

The medication made all the difference. As we are settling in now I can begin to consider going off fluoxetine again. But tricky is the mind and ambition is not a good advisor. I’ll consider the decision carefully and I will allow myself to get outside help to support me in the transition.

Addendum for Buddhists
About 15 years ago, when I found myself in a similarly severe depression, I decided to go on a ten-day silent Vipassana retreat with a well-known monk and teacher from Sri Lanka. I was hoping that would help me but after only one day it became clear that I was spiraling down even more. I often sat on the cushion in tears. It did not help that the teacher had decided not to give any individual interviews at all. After the second day I went to the retreat manager and urged her to talk to the teacher. I really needed help. To make a rather long story short: after another day or two I got to talk to the teacher. His first words were that I surely must already feel better because thanks to me everybody was getting interviews now. Furthermore, he suggested that I stay with the breath and also memorize the Metta Sutta, the Buddha’s teaching on loving kindness. That would open my heart. With this advice I went back to my cushion. After ten days I was in such deep misery, I was barely able to travel home. This is when I knew I needed to see a psychiatrist. He prescribed Prozac and Charlie Chaplin movies. That helped.

(I should add that I memorized the Loving Kindness Sutra and recited it daily for some years. It’s good practice and I enjoyed it. It did not help with depression.)

(I should also add that when I decided to go off Prozac after only three months, the psychiatrist told me that was pretty stupid. I’d only feel that I was fine because of the medication. If I stopped now I would go down again quickly. He was wrong.)

In a recent conversation with Stephen and Martine Batchelor, two Western Buddhist teachers I cherish deeply, I mentioned my predicament. Their response was very clear: going on retreat is not how you treat depression. Stephen recalled an incident in a Tibetan monastery where he saw that a monk with what appeared to be a psychotic breakdown was taken to a hospital to be treated. Stephen said that he learned (and I’m paraphrasing here) that mental illness, such as depression, was considered by the Tibetans a “physical illness”. It was not seen as a “mental object” caused by craving and healed by letting go of desire, aversion or delusion but that it called for medical treatment.

Postscript: Practice? Practice!
Even though I wonder at times if all this meditating and sensing have had any profound effect on my life (or, frankly, that of many practitioners I meet) I know not to kid myself: if not for the teachings of the Buddha, the Sensory Awareness work of Charlotte Selver, and other modalities I have practiced over the years, I would probably not be here to tell the tale. The willingness to be present has been crucial even when it seemed useless. To meet and truly, deeply connect with what is, – to awaken – has a great healing capacity, and what is more, it brings about the deepest joy. It has also enabled me to recognize the beauty in the beast.

* Occasionally, I would let my guard down in my teaching when it seemed appropriate, and I do it more so now. That’s also the purpose of this blog. It turns out that people like to work with the real Stefan just as much as with the unwavering Buddha statue look-a-like.