Column
Change
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.

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.  

Essay
Culture
Doubt
Music
Psychology
9 min read

What happens when perfect plans are outsmarted by the world?

There may be delight hiding in the doom.
Two people sit and stand next to a grand piano on a stage.
Striking the wrong note.
Polyfilm.

If I’ve learned anything at all from decades working with businesses, it’s that they love an acronym. For a while the acronym we loved was VUCA. Not a nuclear jet nor a foot wart, VUCA emerged from the leadership theories of Warren Bennis and Burt Nanus to reflect the Volatility, Uncertainty, Complexity and Ambiguity of contemporary leadership. Nothing gets a roomful of executives nodding sagely than the observation that we live in a VUCA world. For a while it felt almost sacrilegious not to evoke VUCA at some point when training leaders. It was comforting to tell people who were supposed to be shaping the world that everything was, well… a bit nuts. 

But in the last few years VUCA has lost its shine. Things have started to get too crazy, a bit too VUCA for anyone’s liking. The wars, the plagues, the natural disasters, the political upheaval, the shaking of old certainties- it’s all gone a bit super-VUCA. The acronym that once reassured us that the world tends to resist our perfect plans has been outsmarted by the world it once captured. What are we to call this permacrisis, this omnishambles, this SNAFU, when super-mega-hyper-VUCA just sounds stupid? A new acronym was needed. Enter stage left- BANI, the invention of futurologist Jamias Cascio to designate the way things are now: Brittle, Anxious, Non-Linear, Incomprehensible. We’ve had a romantic breakup with the world- you’re not like it used to be, you used to be fun, you’ve changed!  

In March, Seen & Unseen celebrates its second anniversary. We are two years old. Old enough to appreciate a birthday cake, too young not to burn our fingers on the candles. I’ve been writing for the site since the beginning and to this day feel surprised that this quirky mishmash of a brainfart I keep writing is still accepted for publication each month. Either the folks at Seen& Unseen are pathologically kind to their own detriment, or my monthly missive of misery is not quite as off the wall as I fear it might be.  

When I look at the world, I feel like we’re in a football match with no referee. I keep shouting foul and looking for someone to blow the whistle. It feels like the Tower of Babel. Even the technologies we thought would unify us have made us incomprehensible to one another. Like the scene in That Hideous Strength (the third book in C.S. Lewis’ Cosmic Trilogy) where a roomful of people is magically befuddled. They can no longer understand each other, and anyone who rises to take charge of the situation speaks gibberish that only adds volume to the babble. We don’t need any more opinions. We certainly don’t need any more people with misplaced certainty they have the answer. 

To be honest, I’ve just run out of ideas. I’m confused, baffled, clueless. But what embarrasses me most is not my helplessness, it’s my hope. For some reason, in jarring contrast to the circumstances, I can’t shake off the sense that ultimately all this will make sense, that breakdowns lead to breakthroughs. We’re in the unbearable part of the story where everything goes wrong, but if we put the book down now, we’ll think that was the end of it, when it was really just the set up. Pretty much everything I’ve written for Seen & Unseen over the last two years equates to: grief, this looks bad, but maybe there is more to it than it appears. 

There is another anniversary being celebrated this year. This January marked the fiftieth year of a musical event so remarkable that a new dramatization of it premiered at the Berlin Film Festival to mark the occasion – the recording of The Köln Concert. (Watch the trailer of Köln 75.) If we are looking for a story of how beauty emerges from disaster, this one is worth telling. The event was organised by eighteen-year-old Vera Brandes, at that time the youngest concert promoter in Germany. She booked the Cologne Opera House, but given that it was a jazz concert, it was scheduled to begin at 11:30pm following an opera performance earlier that evening.  

The performer, jazz pianist, Keith Garrett travelled to the concert from Zurich. But rather than flying, he sold his ticket for cash and opted to make the 350-mile trip north with his producer Manfred Eicher in a Renault 4. He had not slept well for several nights and arrived late afternoon in pain, wearing a back brace, only to discover that the opera house had messed up. The Bösendorfer 290 Imperial concert grand piano he had requested had been replaced by a much smaller Bösendorfer baby grand the staff had found backstage. The piano was intended for rehearsals only, in poor condition, out of tune, with broken keys and pedals. It was unplayable. Jarrett tried it briefly and refused to perform. But Vera Brandes had sold 1,400 tickets for the evening. So, while he headed out to eat, she promised to get him the piano he required. 

But it was not to be. The piano tuner who arrived to fix the baby grand tells her a replacement is impossible. It was January in Northern Germany, the weather was wet and cold, and any grand piano transported in those conditions without specialist equipment would be damaged irreparably. They had to stick with the piano they had. Keith Jarrett’s meal didn’t go well either. There was a mix up at the restaurant and their food arrived late. They barely had chance to eat anything before returning to the venue. And when Garratt saw the tiny defective Bösendorfer still on the stage, he again refused to play, only changing his mind because Eicher’s sound-engineers were set up to record.  

So the concert begins. A reluctant pianist – tired, hungry and in pain – sits at a ruined piano, and records the bestselling piano solo album and bestselling jazz album. Ever. He improvises for over an hour. Starting tentatively, exploring the contours, befriending the limitations of his damaged instrument – learning its capabilities as he plays. But soon Jarrett is whooping, yelling and humming with delight as he extracts beauty from the brokenness. The limited register forces him to play differently. The disconnected pedals become percussion. By the time he reaches the encore, the joy of his playing is irrepressible – it sends shivers down the spine. And when he finishes, the applause goes on. Forever.  

Jarrett pulled off an impossible feat and sealed his reputation as one of the greatest pianists of his generation. And I take heart from the event, because when I face the world, I sometimes imagine I feel like he did facing that piano. Tired and pained and doubtful any good will come of playing. Can I order a new world, please? One more to my liking. One less likely to hurt. Yet I can’t quite shake off the intuition that there may be delight hiding in the doom, a treasure only unearthed by those willing to play. 

I am drawn to Job. He is a hero to all those who are sick of the answers of others but have no answers themselves. 

This year I celebrate my own anniversary. I was born seven months after that fateful night in Cologne, in the equally salubrious town of Birkenhead. This is my fiftieth year too. The 3:15pm of life: too early to clock off, too late to start anything new. If living is a race between maturity and senility – gaining the wisdom to live before losing our marbles – then I’m odds-on for a photo finish. The evidence accumulates daily that I am likely to live longer than most of my vocabulary.  

Jung held a positive view of old age. He viewed it as the time for religion to ripen. And I can’t help agreeing with him. The older I get the closer God seems. As muscle mass thins the spirit deepens. Outwardly I’m fading away, inwardly I am being renewed day by day. This undoubtedly underlies my hope of beauty arising from our brokenness. In some small and barely noticeable way it is already happening in me. And I know I’m not alone in that.  

Jung also wrote about Job- the Hebrew epic of suffering and restoration. Job’s life is like one of those old blues songs. He loses his wife, his kids, his home, his health. He’s left broken, infested with sores and sitting in the dust. If you’ve been in a situation like that, you’ll know that even the most well-meaning friends can respond with surprising incompetence. Job’s friends are no different. They are true believers in Just-World Theory, the universal human tendency to assume that if bad things happen to us we must deserve them, we must have been bad. They live in a world ultimately governed by the kind of instant karma that causes car crashes on YouTube, and they’re keen to teach Job the way the world really is.  

But Job resists them at every turn. He may have a proverbial reputation for patience, but he is anything but patient. I used to think this was a story about a man defending his innocence, but it’s much more than that. It’s the story of a man who goes through a breakup with God. He once lived a life of goodness, abundance, and gratitude in which he knew God as attentive and lovingly present. His friends are not just arguing that he’s being punished for some undisclosed sin, but that he’d always been wrong about God. He’d never known God- not really. The God they knew was volatile, capricious, arbitrary, vicious - like a rescue dog, you never quite knew when he would turn. And Job’s suffering was the proof of it. 

The problem for Job is that he has no clue why he is suffering, but he will not let his friends obliterate the history he has shared with heaven. He knows God to be utterly faithful, constantly present, sublimely attuned, hugging the contours of his life as the sea hugs the shore. He wants nothing to do with a fickle god who falls asleep on the job or flounces off the first time we let him down. He rejects the here-again gone-again god of his friends. Sometimes, to know God, we need to reject those who claim to speak for God.  

The weird thing in Job’s story is that eventually God shows up. Over the course of the narrative, he has asked God 122 questions, and God responds with 61 of his own. The questions are rhetorical- they point to all the places God is present that Job isn’t, all the things that God knows that Job doesn’t, all the things God has done that Job hasn’t. And by the end, Job is satisfied, his friends are dismissed, and his life is restored. God is as Job expected, intimately present but ultimately mysterious. He was right to reject the obtuse certainties of his friends and face the pain of the world with a cultivated sense of unknowing. 

When I ponder how best to bring beauty out of a BANI world, how best to play its brokenness like Jarret played his Bösendorfer, I am drawn to Job. He is a hero to all those who are sick of the answers of others but have no answers themselves. He is also a hero to those who, despite all evidence to the contrary, cannot smother their hope. Those who discern the leavening yeast sown in the hearts of humans across the planet; too inconspicuous to make the news, but destined to rise when the time is right.

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Watch the Köln 75 trailer