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Identity
Psychology
Taylor Swift
7 min read

Self-belief: what Ted and Taylor get wrong

Psychologist Roger Bretherton questions whether believing in ourselves is all it’s cracked up to be, despite what culture icons might say.

Roger Bretherton is Associate Professor of Psychology, at the University of Lincoln. He is a UK accredited Clinical Psychologist.

A man in a blue jumper holds a yellow sign reading 'believe'.
Ted and that sign.

Psychotherapists can be really irritating. You may not have noticed how irritating they are, but I have.  And that’s saying something. Because I am one - an irritating psychotherapist that is. In nearly two decades of practicing and training people to counsel, coach and generally therapize (I know that’s not really a word, but I can’t help irritating you by using it), I have curated an ever-growing list of the therapeutic practices by which I am most likely to be irritated.  

To my mind, the gold medal in the irritating therapist Olympics goes to a winsome and playful hypnotherapist called Stephen Gilligan. Some psychotherapists treat everything that comes out of their clients’ mouths as treasures to be prized, it clearly wasn’t the way Gilligan saw it. In fact, he developed a therapeutic strategy designed to confront any sense that it is possible to define ourselves simply. Every time a client made an ‘I am…’ statement, he would respond with a twinkling eye and a lilting voice, ‘Of course, you are [insert dramatic Pinteresque pause here], except when you’re not.’  

Consequently, the pantomime of therapy goes like this. You think you’re a failure? Of course, you are... except when you’re not. You think you’re a coward?  Of course, you are... except when you’re not. You think you’re a control freak? Of course, you are... except when you’re not. You think you’re always punctual? Of course, you are... except when you’re not. You think you’re disciplined? Of course, you are... except when you’re not. You think you’re accepting of everyone? Of course, you are... except when you’re not. You think this is all really irritating? Of course, it is... except… You’ve probably got the gist of it by now. 

But why would Gilligan, with all his charm and playfulness, risk infuriating his clients like this? Perhaps because he knows something important about human identity that most of us tend to forget. None of us can be summed up in a single sentence, and whenever we try, something grates against us. Any attempt to cram the complex fabric of our lives into the all-too-tiny suitcase of our self-definitions causes us pain. After all that’s what irritation is. It is the gnawing sense that something doesn’t quite fit.  

Psychologists note the difference between anger and irritation. When we are angry, we are usually angry at something. Someone or something has blocked our plans. We’re frustrated. It’s not right and we fight against it. There is a sense of indignation and injustice. But with irritation we’re not always sure what’s bothering us, and if we are sure what it is, we’re not sure it should bother us.  It’s the young couple whispering behind us in the cinema, the door that only closes with just the right pressure, the person who subtly insults us. Not quite enough to make us leap into action, but just enough to steal our attention. To be irritated is to be slightly annoyed that we are annoyed; to be annoyed while wondering whether we have any reason to be annoyed.

We are whole and perfect just as we are, and no can tell us otherwise. It is the gospel of self-belief, that lingers on the lips of cultural icons from Taylor Swift to Ted Lasso: believe in yourself.   

Stephen Gilligan was confronting his clients with the fact that we often wear our identities like this, like ill-fitting clothes that bulge or chafe in the places where the tailoring fails to match the way our lives really are. We can be described in many ways, but we cannot ultimately be contained in, reduced to, or summed up by any single concept. Some part of us always colours outside of the lines. The human equation always leaves a remainder.  

The idea that we are ultimately a glorious mystery, even to ourselves, is not a comfortable thing to live with. We would much rather come up with a bold simple label and stick ourselves to it. At least then we’re safe from uncertainty. At least then we’d be something. Most of us to some extent play this game, and the good news is that our culture offers us numerous ways to play it. The bad news is that none of them really work. 

Perhaps the most popular way to play the identity game is to believe that we already are everything we need to be. We are whole and perfect just as we are, and no can tell us otherwise. It is the gospel of self-belief, that lingers on the lips of cultural icons from Taylor Swift to Ted Lasso: believe in yourself.  You’d think that would be a good thing to believe, but it does run into problems, particularly when the rest of the world fails to hold the same opinion of us.  

If we believe ourselves to be wonderful in every respect it comes as a bit of a shock to discover that not all our colleagues, bosses, or friends regard us with the same breathless awe. At this point, many of us modify our view of ourselves to something more realistic. But if we are not prepared to do that, there are only a limited set of options by which to square the circle of knowing ourselves to be magnificent in a world that refuses to agree with us. We can attack the world in rage, we can flee from it in fear, we can hide from it in shame. A surprising number of people respond with paranoia. Which makes sense. If almost everyone you speak to seems intent on undermining your matchless brilliance, you could be forgiven for thinking the world was out to get you. None of these responses are good. 

Thankfully, in recent years, therapeutic psychology has issued a corrective to the shortcomings of the self-esteem movement. More nuanced practices of self-acceptance and self-compassion, recognise that it is part of being human to not always be as we would like to be, and we will certainly not always be treated as we think we should be treated. A simple grandiose belief in ourselves is too flimsy to endure the buffeting of real life. Self-belief is not enough. 

Accepting acceptance is a radical reorientation of the self because it doesn’t start with us 

Some psychologists have argued that the twentieth century should be named ‘The Century of the Self’, the historical period in which Self replaced other larger concerns, such as Country or God, as the ultimate reference point for good human living. The fact that so many of us unthinkingly endorse the need for self-belief, suggests it is a popular option in our current cultural menu of ways to live with ourselves. But it is difficult not conclude that the cultural currents in which we swim are somehow misaligned, or that we suffer from a widespread lack of imagination if the lynchpin of our aspirations doesn’t really deliver. It makes me wonder if we have taken a wrong turn somewhere. 

The Christian view of all this is that we as human beings, far from being selves to believe in, are the recipients of a radical kind of acceptance. We are not called upon to generate self-acceptance out of thin air. We have been divinely accepted at the deepest possible level, not because we are special or exceptional, but as a gift to us from a generous God. All we have to do is accept that acceptance. Which is harder than it sounds, because we’d rather believe we did it under our own steam.  

Accepting acceptance is a radical reorientation of the self because it doesn’t start with us. It starts with a God who is willing to do whatever it takes to close the distance between us and Him. If God wasn’t like this, if he was vindictive or didn’t care, or if he refused to come anywhere near us until we’d reached the required height of spiritual perfection, there would be absolutely nothing we could do about it. But as it stands, all our attempts to impress God are pretty much useless. There is little point frantically reeling in a god who is already closer to us than we are to ourselves. What’s the point of trying to justify our existence if our existence has already been justified. This is where Christianity begins, but not where it ends.  

Divine acceptance does something more. If self-belief asserts that we are what we are, and no-one can tell us any different; then divine acceptance takes us as we are but refuses to leave us there. Something happens to us when we know that we are known and loved right to our bones. We no longer fear being abandoned because of our flaws, and we start to harbour a growing hope that we may be able to overcome them. Our self-awareness improves, we see ourselves more clearly. We learn to live life dynamically, with nothing left prove, but a lot still to learn.  

Review
Addiction
Culture
Theatre
5 min read

The ancient drama of rehab

People Places & Things is a modern play with old stories.

Simon Walsh is a communications consultant, journalist and non-stipendiary priest in the Diocese of London.

on a stage a woman kneels on a bed amid frantic action around her.
Denise Gough as Emma.

‘There is no higher power,’ says a character defiantly in People Places & Things, the revival of Duncan Macmillan’s 2015 play about addicts and addiction. It’s an echo from Greek tragedy when anyone denies the gods, and now has a modern ring in all the self-help, self-belief talk of recovery and resolve.  

Denise Gough reprises her lead performance as Emma for which, last time around, she swept the board in awards and nominations. It’s easy to see why. She’s on stage almost the entire time, compelling and fluent throughout. The opening scene has her in the white-box modern set wearing a Victorian costume, for her character is an actress in Chekhov’s The Seagull – almost meta, and the first hint and how this a show where realities and identities blur with layers upon layers. 

Soon after, Emma (if that is her real name) checks into a rehab unit. She doesn’t feel she has a problem but is there for a break. ‘Drugs and alcohol have never let me down,’ she says at one point. A brisk female doctor in a white coat admits her, played by Sinéad Cusack. A couple of scenes later, Cusack reappears as the clinic’s group therapist. This time she’s full of empathy – barefoot and with a scarf over one shoulder – all herbal tea and sympathy. 

But the therapist’s work with her charges is vital. Some even get to ‘graduate’ and host a non-alcoholic party the night before they leave, having successfully stayed the course. Probably not Emma though. She’s too feisty, individually unable to admit her problems, and inevitably she crashes. There’s a naturalistic feel to the production and narrative, even when it jolts into dream-like sequences or bright lights with thumping techno music.  

Anyone with experience of an addict or addiction will find it all too familiar. The later scene where Emma returns to the parental home is a crucible of pain, and embodies the play’s title. It concerns ‘the people who can make us relapse, the places which trigger associations, and the things which are the props of the old habits’. And it’s made more complex by the family in grief over the recent, sudden death of Emma’s beloved brother in a freak accident. ‘It should have been you instead’ is the parental curse on this remaining child. 

There’s a slow and silent feel to the way it develops. The word inexorable comes to mind, something that cannot be changed or stopped. Like Greek tragedy, the tension is in how this will resolve, and if it will turn out as badly as feared. It does and it doesn’t, which is at least true to the addiction journey. 

Jeremy Herrin expertly directs an intensely fine cast: Russell Anthony, Holly Atkins, Ryan Hutton, Malachi Kirby, Danny Kirrane, Paksie Vernon, Kevin McMonagle, Ayò Owóyemi-Peters, Lousie Templeton, Dillon Scott-Lewis. These are nuanced, crafted performances which inhabit Bunny Christie’s versatile, stylish set with presence. 

 

What the healings have in common is the aftermath – a sense of vision restored, stability refound, new clarity... 

Faith plays at the edges of this work. There are passing references to religion: a ‘bibling grief’, communion wine, the power of prayer. More tears, said St Teresa of Avila, are shed over answered prayers than unanswered ones, and this outward expression of a cry for help connotes the spiritual struggle of addicts along with their pity. As the first disciples themselves asked, ‘Teach us, Lord, how to pray.’ 

Addiction was not something Jesus had much to say about. Healings take place throughout each of the four gospels. The sufferers present with various ailments and of differing origins. For some it is hereditary, others through sin (such as when Matthew records Jesus healing a paralyzed man with the words ‘your sins are forgiven’). At other times there is a clear need for recognition such as when Jesus visits his hometown. He ‘laid hands on a few sick people and cured them’ but otherwise ‘could do no deed of power there… and was amazed at their unbelief’. 

These healings, however, do not obviously deal with addiction. The closest connection is probably the examples which deal with demons. The encounter with a man possessed in the land of the Gerasenes, a little earlier, is instructive. Here is someone who ‘lived among the tombs; and no one could restrain him anymore, even with a chain; for he had often been restrained but the chains he wrenched apart; and no one had the strength to subdue him’. But Jesus confronts the demon, the ’unclean spirit’, and sends it into a herd of swine ‘numbering about two thousand, which then rushes to the sea and is drowned. 

What the healings have in common is the aftermath – a sense of vision restored, stability refound, new clarity. The healed demoniac is found with Jesus, ‘sitting there, clothed and in his right mind’, though the swineherds do not believe it and remain scared. They beg Jesus to leave and the ex-demoniac wants to go with him, but Jesus tells him to stay: ‘Go home to your friends, and tell them how much the Lord has done for you, and what mercy he has shown you.’ He is to give his testimony. 

Drama at its heart has to be about telling a story and finding a universal truth.

It’s a running debate that lived experience and life identity are now more important than acting ability when it comes to race, sexuality, gender and so on. Denise Gough has given testimony ahead of this run – how as a teenager she fled her native Wexford for London where she fell into homelessness, drug and alcohol abuse, and was the victim of grooming. She has told her story, with purpose, much as those people who experienced healing and deliverance gave their own account to the Early Church. 

Drama at its heart has to be about telling a story and finding a universal truth. The gospels are full of this, with redemption and rehabilitation. Lives changed, sins forgiven, and a new future made possible. There is power in believing, and knowing that when someone might stumble and fall, it is not the end. In fact, it might just be the beginning. 

  

People, Places & Things is on at the Trafalgar Theatre, Whitehall, London, SW1A 2DY, until 10 August 2024.