Removing pain’s barriers to healing

How do we open the window to let the air in?

Katherine Amphlett

Katherine is a counsellor based in the West Midlands.

A window sheds light through locked bars into a dusty and dark room,

Denny Müller on Unsplash.

One of the trickiest situations you can encounter if you’re a counsellor is having a client you can’t reach. They sit there in front of you, pain in their eyes, but somehow every approach you make meets with resistance. It’s like trying to touch someone through a closed window – you can see them, but you keep bumping into the glass.

I have two at the moment. One is Cypriot; I’ll call her Androulla, and she scares me rather as she is a doctor and never smiles and knows everything. ‘Yes, I have tried that,’ she says. ‘Yes, I am familiar with that book/ line of thinking/ philosophical method – it hasn’t worked for me.’

And I know that we’ve found the poisonous plant in the heart of her heart and pulled it up by the roots. I am as sure as I can be that she will get better now.

Yet she is dreadfully sad. Her mother died out in Cyprus, and she couldn’t get there in time. Her grief is eating her. She glares at me, desperate to be helped but bristling with gun turrets. Hmm.

Eventually I remember something Jane Goodall said. Jane Goodall is one of the world’s wonderful people… her work with chimpanzees back in the 60s dramatically changed our relationship with animals, and she still travels the world at the age of nearly 90 encouraging young people to take action on climate change. In her lovely Book of Hope she describes how when she’s completely knackered or stuck with something, she sort of hands herself over to an outside power. ‘I just relax and decide to appeal to the source of hidden strength,’ she writes. ‘There’s a wisdom that’s far, far, far greater than my own.’ When she surrenders in this way, she often gives her best lectures she says.

I think I might give it a try with Androulla. As a gradually-learning-to-be-more-trusting Christian, it seems most appropriate to follow in the footsteps of St Francis. So just before our next session I shut my eyes and say, ‘Help Lord, I don’t know what to say to her. Please take over and use me as a channel – she could really do with your peace and grace, and I seem to be in the way’. I’m quite a controlling person normally so I feel a bit reluctant… but if it works for Jane Goodall and for St Francis, I’m not going to argue!

To my surprise, I find myself asking Androulla what her understanding of the word ‘mercy’ might be – not a very usual counselling question. Even more surprising, her eyes fill with tears and suddenly she says that the last time she saw her mother, she told her she hated her, and had a physical fight with her and hurt the skin on her old arms. Crying properly now, the poor woman says she doesn’t deserve forgiveness after that, and I find myself telling her how mercy sees everything with utter clarity and loves and accepts it whatever is deserved or not deserved. And I know that we’ve found the poisonous plant in the heart of her heart and pulled it up by the roots. I am as sure as I can be that she will get better now.

Something compassionate has breathed on these locks, and the stuck windows have suddenly yielded and opened to let the air in.

Then today the same thing happens again – with Bella, my other client who cannot forgive herself, in this case for the fact that her violent alcoholic husband drank even more after she finally left him and died of organ failure in a homeless shelter. We’ve gone over and over her guilt for weeks, and she has remained shiny and brittle and artificially bright and fine. We’ve got nowhere. Until now. ‘Dear Lord,’ I say before I ring her, ‘help me find a way through to her. Let me remove myself and all my assumptions, so that your healing can flow through to her and give her some rest.’ I do my best to relax into our conversation, just to let what wants to come, come. And out of nowhere, I am suddenly inspired to ask her whether she’d feel guilty if her husband had died of some terrible illness like cancer.

‘No,’ she says.

‘Well… you’re a medical secretary. You’ll know better than me that alcoholism is an illness,’ I say.

There’s a very long silence.

‘Doesn’t that mean you’ve both been suffering from this terrible illness?’ I ask eventually. ‘Dave because it drove him crazy and then killed him; you because it blighted your life, and is blighting it still? Isn’t it time you said, “No, enough!” to this pestilence?’

I can see it in my mind’s eye, the alcoholism, like a swarm of red locusts or a scarlet dragon, devouring both Bella and Dave. I don’t feel that’s an image I came up with, it’s just there in my mind. I can feel this lodging in Bella’s mind too… a whole new way of thinking, a great big shift in emphasis, a transfer of responsibility from her to the monster.

I don’t know whether the idea is fully rooted yet, whether we can rely on it to grow and flourish and bear good fruit. But I sense that it is at least planted and watered. A bit more sunshine, some careful tending… and probably a lot more trusting would seem to be the way forward.

It’s not in the training manual, this technique. You won’t hear the British Association of Counselling and Psychotherapy recommending that therapists hand themselves over to Jane Goodall’s ‘outside power’. But something compassionate has breathed on these locks, and the stuck windows have suddenly yielded and opened to let the air in.

Article

Culture

Mental Health

Music

25 October 2024

5 min read

Dark, sweet and subtle: recovered music orientates us

The alt-folk music seeking inspiration from forgotten hymns.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A woman stand at a mixing desk playing a small keyboard.

Lleuwen Steffan plays.

In 2012, musician Lleuwen Steffan first came across a trove of lost Welsh folk hymns preserved in the sound archive of St Fagan’s Museum. Knowing they were not in current hymn books, she undertook further research and discovered they had been excluded from earlier hymn books by the then all-male hymn book committees of their time. Instead, they had been passed on orally, and, although recorded for St Fagan’s by the historian Robin Gwyndaf, had become lost with time and secularization.

Steffan was particularly attracted to these hymns as many dealt with the dark side of the psyche including addiction and mental distress. She has said that many of these hymns, some of which date back to the eighteenth century, are “conversational and the lyrics feel so current”. She is currently taking these hymns back to where they were born through a tour of 50 chapels in Wales but this is not an exercise in nostalgia as her focus is on their contemporary resonance: “Musically, I’m not interested in recreating something from the past. That’s missing the point. Yes, the words are old but the message is always new. The music is free form.”

Although the subject matter of these hymns will have been part of the reason for their exclusion from the hymn books of their day, that same subject matter has been part of worship songs from the time of the Psalms to the present. The Psalms are the worship songs of the people of Israel as recorded in the Old Testament and are the first occasion in ancient literature where the voice of victims is heard and valued.

The Old Testament scholar Walter Brueggemann in his book Spirituality of the Psalms provides an insightful and structured overview of the Psalms using three categories: orientation, disorientation, and new orientation. Orientation is the establishment of structure and order. Disorientation is a place of imbalance and nonsense, which is potentially unjust. New orientation is moving forward away from what was and toward new possibilities. As a result, the Psalms provide us with expressions of suffering and hope in the seasons of everyday life. In his book, Brueggemann explains how Psalms of negativity, cries for vengeance, and profound penitence are foundational to a life of faith, and establishes that the reality of deep loss and amazing gifts are held together in a powerful tension.

“This eerie, intriguing and enchanting music... is infused with echoes of the past two centuries’ beliefs and threads of spirituality and song.”

Rupert Loydell

With such a collection of worship songs as the foundation of worship in churches, and with plainsong in Western churches providing a means by which to chant the Psalms on a daily basis, it should not be surprising that later hymns, such as those being reimagined by Steffan, tap into the dark side of the psyche. The success of albums such as Officium by saxophonist Jan Garbarek and The Hilliard Ensemble, together with Steffan’s own collaboration with pianist Huw Warren and saxophonist Mark Lockheart on Welsh hymns Duw A Wyr (God Only Knows) which is in a similar vein, show how such music can be made relevant to contemporary audiences.

Ghostwriter’s latest album, Tremulant, inhabits similar sonic territory to Steffan’s current Tafod Arian (Silver Tongue) music. Created over several years by Mark Brend, Suzy Mangion, Andrew Rumsey and Michael Weston King, this album has also been borne out of a shared love of antique evangelical hymns and spiritual songs. Using English, Welsh, Scottish and American source material from the nineteenth and early twentieth centuries, the quartet pieced together their reconstructed hymnal through remote collaboration – creating an album that sounds both ancient and modern.

In his review of Tremulant, Rupert Loydell says it is “a strange ambient gospel album, where what used to be called spirituals and hymns are subverted by echo, wheezing organ and spacious musical interludes, which recontextualise, reimagine, stretch and mutate the very idea of song”. This, he says, “is eerie, intriguing and enchanting music” with “echoes of classic Nico (the cold beauty of Desertshore)”. It's ”declamatory poetry, alt-folk, noise and gentle discord” combined with “calm vocals” is “infused with echoes of the past two centuries’ beliefs and threads of spirituality and song”. As such, it's not what you’ll hear the local worship band playing, more’s the pity!

“Something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.”

Lleuwen Steffan

Like buses, other revisiting’s and reimagining’s of old hymns and gospel songs are also coming along together. Hymn Time In The Land Of Abandon by Over the Rhine is “Music that we grew up singing, music as present in our formative years as the air we breathed”. Their recordings of hymns have been described as “spare, sweet and subtle renderings that transform the familiar into something fresh and new”.

The musical reimaging involved in Over the Rhine’s reinterpretations of hymns takes them into the space that Brueggemann defines as new orientation, while the sounds and, in some cases, content of the hymns chosen by Steffan and Ghostwriter are more in the realm of his disorientation category. The music making of Lleuwen Steffan, Ghostwriter and Over the Rhine takes us to places not commonly accessed by the music used in many church services. As is indicated by the story of hymn book committees omitting hymns that tap into the dark side of the psyche, much of the music used in church services can be located firmly in either the orientation or, sometimes, the new orientation categories.

Given that the arc of Christ’s life, death and resurrection takes us on a similar journey to that which Brueggemann sees occurring in the Book of Psalms, when our music and liturgy fail to go on a similar journey, we are only encountering part of the meaning and message of faith. The recent music of Lleuwen Steffan, Ghostwriter, and Over the Rhine is therefore profoundly helpful in beginning to redress that loss of balance in worship by taking us back to a fuller appreciation for the original songbook of the faithful, the Book of Psalms.

In speaking about why she has been drawn again and again to church music, Steffan described her teenage experience of drinking with her “mates in Bangor on the Saturday night” then getting “the last bus back home” and rolling “out of bed the following day to go to Sunday School”. She concluded: “That’s a strange paradox but, you see, something kept bringing me back. That something has always been there. For that I am extremely thankful and am listening to it more and more.” It may well be that that something is the arc of orientation, disorientation and new orientation we encounter and experience in the Psalms.