The Sylvia Plath Effect: Mental Illness in Eminent Creative Writers

Although many studies (e.g., Andreasen, 1987; Jamison, 1989; Ludwig, 1995) have demonstrated that creative writers are prone to suffer from mental illness, this relationship has not been truly examined in depth. Is this finding true of all writers? In Study One, 1,629 writers were analyzed for signs of mental illness. Female poets were found to be significantly more likely to suffer from mental illness than female fiction writers or male writers of any type. Study Two extended the analysis to 520 eminent women (poets, fiction writers, non-fiction writers, visual artists, politicians, and actresses), and again found the poets to be significantly more likely to experience mental illness. This early finding has been dubbed “the Sylvia Plath effect,” and implications and possibilities for future research are discussed.     

Effects of distorted auditory and of rhyming cues on retrieval of tip-of-the-tongue words by poets and nonpoets

Auditory cues (the target word distorted by a low-pass filter) and rhyming cues act as retrieval aids for people who have a word on the tip of their tongue. Parallels between the tip-of-thetongue phenomenon (TOT) and the perception of well-put passages of poetry are also discussed. It is argued that the effects of these poetic passages derive in part from the engagement of TOT-like processes. In support of this hypothesis, poets (poetry appreciators) are shown to be more aware of being helped by TOT retrieval cues than are nonpoets (poetry nonappreciators); however, the retrieval cues do not differentially influence successful recall of TOT words by poets and nonpoets.     

From empire to democracy: effects of social progress on Turkish writers

What is the effect of a society's culture on the creative writers living there? Few cultures have had such a event as Ataturk's 1920 revolution that changed Turkey from a monarchy ruled by sultans into a republic. How would such a dramatic shift in a country's history be reflected in the accomplishments and characteristics of its writers? In this study, the authors investigated 948 eminent Turkish writers. Variables of gender, era, type of writing, education level, profession, and winning an award were all analyzed. The type of writing (fiction, poetry, plays, or nonfiction) and the era in which the writing was produced were both predictive of whether an author won a literary award. Before 1920, fiction writers received more awards than poets; after 1920, poets received more awards. In addition, professional writers were more likely to win awards than were professional politicians. Reasons for these findings are discussed with an emphasis on cultural and historical influences.     

From Empire to Democracy: Effects of Social Progress on Turkish Writers

What is the effect of a society's culture on the creative writers living there? Few cultures have had such a event as Ataturk's 1920 revolution that changed Turkey from a monarchy ruled by sultans into a republic. How would such a dramatic shift in a country's history be reflected in the accomplishments and characteristics of its writers? In this study, the authors investigated 948 eminent Turkish writers. Variables of gender, era, type of writing, education level, profession, and winning an award were all analyzed. The type of writing (fiction, poetry, plays, or nonfiction) and the era in which the writing was produced were both predictive of whether an author won a literary award. Before 1920, fiction writers received more awards than poets; after 1920, poets received more awards. In addition, professional writers were more likely to win awards than were professional politicians. Reasons for these findings are discussed with an emphasis on cultural and historical influences.     

Cognitive Processes While Writing Poetry: An Expert-Novice Study

To identify expert poets’ cognitive processes as they compose poetry, we asked 10 expert poets and 10 novice writers of poetry to think aloud as they composed a poem. Compared to the novices, expert poets revealed an associative playfulness and surrendering of consciousness, similar to that shown in research on general creativity in domains such as art, music, and science. Experts also demonstrated significantly more evidence of deliberate procedures and active revision. Novices rarely revised their poems. With regard to meaning, experts made significantly more comments about how the text was meaningful, in particular how textual elements evoke and amplify meaning, than about what the text merely meant. The novices commented more on what the text meant than how the text was meaningful. In discussing the results, we propose a model of the cognitive processes involved in poetic composition, and explore implications for instruction in school and post-secondary educational settings.     

Burial and the Crossing of Boundaries

This article discusses portrayals of the underworld in classical and contemporary poetry, exploring connections between darkness and light, the underworld, and growth in the natural world. It links them together with the idea of beauty, and especially beauty in writing poetry. It gives examples of how contemporary poets can use innovative and radical forms to suggest the world of the darkness that is the underworld.     

RAGING WITH THE TRUTH: Condemnation and Concealment in the Poetry of Blake and Hill

An analysis of Geoffrey Hill's lyric poem about William Blake illuminates the relations between art, prophecy, and imperial politics across more than two centuries. Hill's poem responds to David V. Erdman's argument that Blake was resolutely, if ineffectually and sometimes secretly, opposed to war. It also establishes Hill's own cryptic but definite resistance to contemporary war and warmongers, while it mourns poetry's public powerlessness to halt the violent competition for material resources. Ignored by the majority, poetry fails to bring about the ethical social change that poets often envision. The layering of perspectives (Hill the poet and scholar writing about Erdman the scholar, who is explicating Blake the poet and artist) allows for a multidimensional interpretation of the role of poets and prophetic poetry. Despite their fury at society's deafness and greed, and frustration at their own incapacities, poets—because if they are great poets, they are prophets, too—continue to speak to their audiences about the problems of this world and about the better worlds that can be imagined. Hill's text obliquely teaches how the small success of a great poem can provide a minor note of consolation as it objects to terror and tyranny.     

Transition,transformation and the art of losing: Some uses of poetry in hospice care for the terminally ill

What lessons for psychotherapy can be drawn from the enjoyment and sustenance we find in the use of literature? This paper looks back on a recent creative writing project undertaken with patients in a hospice day centre, and suggested reasons why the patients found this activity not only enjoyable but also therapeutic. Both the hospice as an institution and the poetic form are defined in terms of a transitional space. The article shows how the act of reading and writing poetry places a value for patients on not knowing at a time when the plain hard facts of terminal illness loom large. The author describes a practical way of engaging with poetry in this context, and uses clinical material to describe how the literary arts can provide a transformational object, and a point of inspiration, that may help patients to negotiate the changes brought about by their illness.     

A Reminiscence

The founding of the William Carlos Williams poetry competition for medical students is recounted. A few highlights from its nearly twenty-five years of operation are offered. Gleanings from the hearts and souls of some of the winning poets are shared.     

INCENSE AND INSENSIBILITY: AUSTIN ON THE 'NON-SERIOUSNESS' OF POETRY

What is at stake when J. L. Austin calls poetry ‘non‐serious’, and sidelines it in his speech act theory? (I). Standard explanations polarize sharply along party lines: poets (e.g. Geoffrey Hill) and critics (e.g. Christopher Ricks) are incensed, while philosophers (e.g. P. F. Strawson; John Searle) deny cause (II). Neither line is consistent with Austin's remarks, whose allusions to Plato, Aristotle and Frege are insufficiently noted (III). What Austin thinks is at stake is confusion, which he corrects apparently to the advantage of poets (IV). But what is actually at stake is the possibility of commitment and poetic integrity. We should reject what Austin offers (V). ¹ 1 I am grateful to Stephen Mulhall, whose paper ‘Deconstruction and the Ordinary’ prompted me to think about these things.
     

Schizotypy and mental health amongst poets, visual artists, and mathematicians

Many researchers have found evidence of an association between creativity and the predisposition to mental illness. However, a number of questions remain unanswered. First, it is not clear whether healthy creatives have a milder loading on schizotypal traits than people who suffer serious psychopathology, or whether they have an equal loading, but other mediating characteristics. Second, most of the existing research has concentrated on artistic creativity, and the position of other creative domains is not yet clear. The present study compares schizotypy profiles using the O-LIFE inventory in a large sample of poets, artists, mathematicians, the general population, and psychiatric patients. Poets and artists have levels of unusual experiences that are higher than controls, and as high as schizophrenia patients. However, they are relatively low on the dimension of introvertive anhedonia. Mathematicians are lower than controls on unusual experiences. The results suggest that artistic creatives and psychiatric patients share a tendency to unusual ideas and experiences, but creative groups are distinguished by the absence of anhedonia and avolition. Moreover, different domains of creativity require different cognitive profiles, with poetry and art associated with divergent thinking, schizophrenia and affective disorder, and mathematics associated with convergent thinking and autism.     

What Poetry Brings to the Table of Science and Religion

Ever since Plato's famous attack on artists and poets in Book 10 of The Republic, lovers of literature have felt pressed to defend poetry, and indeed from ancient times down to the present, literature and art have had to fight various battles against philosophy, religion, and science. After providing a brief overview of this conflict and then arguing that between poetry and science there are some noteworthy similarities—that is, that some of the basic mental structures with which the scientist studies the “text” of nature (facts, laws, theories) find their counterparts in ways an informed reader studies the poetic text, I develop what I see as the most important differences between poetry, on the one hand, and science, philosophy, and theology, on the other. These differences lie chiefly in two areas: (1) in the stance that each takes toward language itself and (2) in the stance each takes toward that ancient polarity between the one and the many. The aim of my argument is neither to privilege poetry over the other modes of knowing the world nor to grant, particularly to science in its reductive “objectivity,” a higher epistemological status than that accorded to poetry and the arts. Instead, I wish to argue that science, by pushing the boundaries of knowledge about the material world, shows the poet, as well as the theologian, some of the more important work to be done and that poetry, with its emphasis on the particular over the abstract and on the ambiguities and paradoxes of language as inherently metaphorical, serves science and religion by providing a caution against the naive acceptance of language as literal and the consequent enthrallment to the power of absolutes and totalizing abstractions.     

Using Celluloid to Break the Silence About Sexual Violence in the Black Community

Abstract

I am the producer, writer, and director of NO!, a feature length documentary that addresses intra-racial sexual assault in the Black community. Through this film, I hope to break the silence and give visual voice to a chorus of Black women rape survivors and Black women and men activists, historians, poets, attorneys, psychologists, and musicians. Their messages are conveyed through testimonies, scholarship, dance, music, and poetry.     

The Time Before Us (The Unpast in W. S. Merwin,W. Benjamin,and V. Woolf)

Freud and Winnicott have expressed the opinion that if their psychoanalytic ideas are correct, then poets and writers will have thought of them first. The author of the present article, who, in a previous work, has developed the concept of “actual time” on metapsychological grounds, concurs with their opinion by showing that variants of “actual time” can be found in the works of the American poet W. S. Merwin, the British writer Virginia Woolf, and the German philosopher Walter Benjamin. Their poetry, literary prose, and philosophy, respectively, are shown to resonate with the time dimension of the psychoanalytic process.     

An Elegy,a Love Song,and a Lullaby

In the course of the past decade, I have found himself looking as much to poets and the experience of reading poetry as to the work of other analysts in my ongoing effort to become a psychoanalyst. Both the poet and the psychoanalyst are individuals whose life's work is that of making “raid[s] [on] the inarticulate” (Eliot, 1940, p. 128) in their effort to delve as deeply as possible into what it is to be human and to render that experience in the medium of language. To this end, I offer a reading of Seamus Heaney's (1987) “Clearances,” an elegy Heaney wrote for his mother soon after her death. I explore the ways in which the experience of mourning—whether in a poem or in an analytic experience—is not simply “conveyed” (as if illuminating something already there) but created in the very act of writing/saying the poem or of bringing feelings to life in words in an analytic session.

I begin by presenting a brief biographical account of Heaney not to “explain” his poetry in analytic terms but to allow the reader to create a more imaginative, more human reading of the poem as he or she enters into the conversation between the life of the man and the life of the poetry. Then I discuss the ways in which “Clearances” comes to life as a variety of coexisting forms of love that together shape an experience of grief.     

A Knock on the Door

In this paper, the author, who is a single mother of a young man with mental illness, describes her son’s first psychotic break. By melding poetry, prose, dream journal entries, and medical case notes, she explores the embodied experience of witnessing her son’s decompensation. In sharing her story, she reminds other caregivers of people with mental illness that they are not alone. She makes sense of her experience with findings from the literature about posttraumatic stress among family caregivers of people with chronic illness and explores the implications for caregivers, practitioners, and scholars of mental illness, trauma, and loss.     

Suffering and Spirituality in the Poetry of Emily Dickinson

After a brief review of recent accounts of spirituality in its relation to medicine and psychotherapy, Emily Dickinson’s poetry is considered as a springboard to a more specific account of spirituality. While not conventionally religious, she is arguably among the most spiritual of poets inasmuch as her themes of God, love, beauty, and especially death and suffering all depend upon the jarring juxtaposition of embodied human experience and transcendent human significance. Her poems suggest a complex view of the ambiguous relation of suffering to human action and meaning. Psychotherapy is a spiritual process not because it necessarily involves supernatural beings or destinies, but because it represents the struggle between human will and aspiration on the one hand and acceptance of biological and other realities on the other.     

Metaphors and models in medicine

This paper aims to show how medical scientists may use metaphor in ways closely parallel to poets. Those who believe metaphor has any role at all in science may describe its use in various ways. Associationists think metaphors are based upon likenesses, and collapse the notions of model and metaphor together. But, as an example from the work of Louis Pasteur suggests, metaphor need not be based upon likenesses. Rather it may play a role in making possible a model'sexplanatory significance. Models may presuppose metaphors. The Pasteur example also suggests metaphor may play a part in creating likenesses through its role in classification and reclassification. It is in these ways that the use of metaphor in medical science most closely parallels that in poetry.     

What we look for in poetry

A chain of events was triggered on the nights of April 23 and 24, 1915, in Constantinople, Turkey, that would end, approximately six years later, with death or forced deportation of more than two and a half million Armenians from their historical homeland in Central and Eastern Turkey. During those two nights over two hundred Armenian writers, historians, translators, poets, journalists, editors, and political leaders were arrested in their homes, taken to the central police station, and never seen again.

The shock of the genocide not only nearly destroyed a nation, together with its articulate literary, political, and cultural leaders, but also paralyzed the creative abilities of its survivors. With their writers, poets, and political leaders lost, their symbolic vocabulary shattered, the Armenians have been unable to distill from the genocide a transcendent wisdom and to present to all cultures the fruits of that distillation via new poetry, art, theater, film, literature, and philosophy, hi the words of V. Oshagan, a modern writer on Armenian and American themes

Seventy years after the event, the Genocide has still not been tackled by any author of note. The Armenians have not recovered from the trauma and with nothing forgotten and nothing forgiven, the Genocide is still continuing. As long as the Turk is identified with the principle of evil in the Armenian imagination, and as long as the Turkish government refuses to admit its guilt and make amends to the victims, the Genocide will continue and will prevent the Armenians from producing any work of art from the theme.

Slowly, over the past two decades, powerful works have emerged that convey to the world, through poetry and myth, the true stupefaction of that horrendous time period. Among these works is the 1980 short story, “Uncle Toros,” by the Armenian writer Mooshegh Galshoyan. With insight and intuition, he portrayed the life of one eighty-year-old victim of the genocide. Old Uncle Toros's recurring nightmare of that event, as vividly told by Galshoyan, allows one to enter the Armenian trauma, to step into the unconscious life of a genocide victim. –A. Chutjian