#discursiveGap

2024-10-12

From The Body Keeps the Score by Bessel van der Kolk pg 51:

All trauma is preverbal. Shakespeare captures this state of speechless terror in Macbeth, after the murdered king’s body is discovered: ‘Oh horror! horror! horror! Tongue nor heart cannot conceive nor name thee! Confusion now hath made his masterpiece!’ Under extreme conditions people may scream obscenities, call for their mothers, howl in terror, or simply shut down. Victims of assaults and accidents sit mute and frozen in emergency rooms; traumatized children ‘lose their tongues’ and refuse to speak. Photographs of combat soldiers show hollow-eyed men staring mutely into a void.

Even years later traumatized people often have enormous difficulty telling other people what has happened to them. Their bodies reexperience terror, rage, and helplessness, as well as the impulse to fight or flee, but these feelings are almost impossible to articulate. Trauma by nature drives us to the edge of comprehension, cutting us off from language based on common experience or an imaginable past.

This doesn’t mean that people can’t talk about a tragedy that has befallen them. Sooner or later most survivors, like the veterans in chapter 1, come up with what many of them call their ‘cover story’ that offers some explanation for their symptoms and behavior for public consumption. These stories, however, rarely capture the inner truth of the experience. It is enormously difficult to organize one’s experience into language.

From pg 53:

When something reminds traumatized people of the past, their right brain reacts as if the traumatic event were happening in the present. But because their left brain is not working very well, they may not be aware that they are reexperiencing and reenacting the past – they are just furious, terrified, enraged, ashamed, or frozen.

After the emotional storm passes, they may look for something or somebody to blame for it. They behaved the way they did because you were ten minutes late, or because you burned the potatoes, or because you ‘never listen to me.’ Of course, most of us have done this from time to time, but when we cool down, we hopefully can admit our mistake. Trauma interferes with this kind of awareness, and, over time, our research demonstrated why.

From pg 55:

For a hundred years or more, every textbook of psychology and psychotherapy has advised that some method of talking about distressing feelings can resolve them. However, as we’ve seen, the experience of trauma itself gets in the way of being able to do that. No matter how much insight and understanding we develop, the rational brain is basically impotent to talk the emotional brain out of its own reality. I am continually impressed by how difficult it is for people who have gone through the unspeakable to convey the essence of their experience. It is so much easier for them to talk about what has been done to them – to tell a story of victimization and revenge – than to notice, feel, and put into words the reality of their internal experience.

Our scans had revealed how their dread persisted and could be triggered by multiple aspects of daily experience. They had not integrated their experience into the ongoing stream of their life. They continued to be ‘there’ and did not know how to be ‘here’ – fully alive in the present.

https://markcarrigan.net/2024/10/12/all-trauma-is-preverbal/

#articulation #discursiveGap #real #symbolisation #trauma

2024-05-28
Trying to use words, and every attempt
Is a wholly new start, and a different kind of failure
Because one has only learnt to get the better of words
For the thing one no longer has to say, or the way in which
One is no longer disposed to say it. And so each venture
Is a new beginning, a raid on the inarticulate
With shabby equipment always deteriorating
In the general mess of imprecision of feeling,
Undisciplined squads of emotion

- T.S. Eliot's East Coker

Both poets understood: if there is some power of goodness which shows up in the making of works of art, it is what compels us to go on reaching for the right words in the right order to give that goodness some flimsy hold on life.

Rilke: The Last Inward Man, by Lesley Chamberlain pg 15

Musil then proposed two categories of poem, to help us understand where to place Rilke. There are poems that ‘in a fixed world can heal or complete something in us; ornament our world, boost our feelings, let something new escape or begin… and there are poems that can’t forget the uneasiness, the inconstancy and the fragmentariness hidden in existence as a whole’.

Rilke: The Last Inward Man, by Lesley Chamberlain pg 27

https://markcarrigan.net/2024/05/28/each-venture-is-a-new-beginning-a-raid-on-the-inarticulate-2/

#discursiveGap #eliot #inarticulacy #Musil #Rilke #TSEliot

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