the title above is attributed to Jerome Kagan, a developmental psychologist whose longitudinal studies on temperament and its effects was just profiled in a New York Times Magazine article by Robin Marantz Henig entitled "Understanding The Anxious Mind."
“Our culture has this illusion that anxiety is toxic,” Kagan said. But without inner-directed people who prefer solitude, where would we get the writers and artists and scientists and computer programmers who make society hum? Kagan likes to point out that T. S. Eliot suffered from anxiety, and that biographies indicate that he was a typical high-reactive baby. “That line ‘I will show you fear in a handful of dust’ — he couldn’t have written that without feeling the tension and dysphoria he did,” Kagan said.
***
My mother always told me the same stories about my childhood temperament. "You never cried" she will say. "I had to set the clock for feedings" and she tells me about the time she slept through a feeding and was certain someone was going to come and sweep me away -- I've always attributed this particular trait to my prematurity somehow. "You always gave your toys away" she will tell me how frustrating it was to see my big wheel roaring down the complex sidewalk driven by another child, or watch me empty my toybox of stuffed animals. "You must have been around two or so and we were at the pool and you scooped a ladybug from the surface of the pool and brought it to me 'kiss bug' you said, so sure that I could make it better, could save it. Your first sentence." My brother tells of how, the year he lived with us when his birthmother in Florida kicked him out -- he was thirteen and I was two. He tells me how his favorite part of the day was to come into my room where I was standing in my crib quietly waiting. I was the only girl in kindergarten invited to a party full of boys -- spiderman themed -- a picture of me from field day -- running in my overalls -- my blond braids flying behind me. Calling out to my mother from the diving board of the complex pool -- the balconies overlooking the central courtyard -- 'I can swim' I shouted -- and jumped off the board, not realizing I'd forgotten my snoopy floatable ring -- and I could not actually swim. I have a hazy memory of being underwater -- floating down, down, my arms in front of me -- and a neighbor boy swimming towards me, air bubbles all around us. The silence. There's no fear. Skiing. Talking to the girl in class who no one would talk to. On the audio tapes my father made on the weekends he'd come to town when I would stay with him at the motel -- he is singing and I am trying to grab the microphone. I am interrupting him. I am no shrinking violet. He always called me tiger.
I was thinking of these things as I read the NYT magazine's article on anxiety -- about the innate aspects of temperament in children --and in particular what Kagan's longitudinal study reveals about the brain and perceived 'high-reactivity' in infants and how it plays out in the child's life. Anxiety, it concludes, isn't always a crippling diagnosis -- watchful, cautious, vigilance -- all of these things can be integrated into an adaptive structure in a thriving and functional life -- highly reactive infants who go on to be young adults who cope well with solitude, whose tendency to worry about being late makes them punctual -- whose fear of public speaking makes them uber-prepared. Much of how this develops is connected to the child's upbringing. The article talks alot about the amygdala and the hypothalmus -- those structure in our brain that wire us to fight or flight -- and I began to think of my own journey with anxiety.
I don't believe that I was innately prone to anxiety -- or what would be termed the 'high-reactive' infant/toddler. I was easy-going, mellow, gregarious, talkative. I had little social anxiety. It's no surprise that the combination that a house shadowed by domestic violence, the glaring dichotomies of light and dark -- the memories I have of my parents in the daytime -- my mother's raw kindness, making daisy chains and picking violets in the shadow of a barn, looking up at the clouds, her reading to me at night, her heartbeat -- the ultimate in security -- my sober father -- set against the shadow of all of that -- mostly in the evenings late when they supposed I couldn't hear -- the school of thought then being what? That infants and toddlers couldn't absorb such things. Then of course what came later -- his violent end, her family's disintegration and the violence there -- all sharp and flashing and the true heart of threat -- what the amygdala is made for -- someone chasing you through the woods -- all of the things that did happen then -- her depression, the poverty -- materially, spiritually, the rage.
I did become cautious, wary. I was changed, but it wasn't what I was born to.
But the great joys of my life came out of that place too -- my penchant for solitude, my seeking out landscapes that soothed me, my immersion in words, my openness to meeting the pivotal people who changed my life, seeing the world through the lens of connection and currents of love rather than acquisition the things we gather around us (whether material or symbolic -- whether it be waterford glasses or peer-reviewed essays) supposing they will keep the worst at bay -- because once the unthinkable, the worst has happened you realize that all you have at your core is your ability to reach out in love to another person -- and heeding the inner voice that, when it counted, urged me forward.
I lost that thread when my anxiety reached its peak in 2002 - it seems like it crept up on me -- it began with two prior years of sleepless nights compounded by my dire circumstances after graduate school -- few real avenues for making a life for myself. The constant weight of financial fear. I'd moved home, been hired by a community college to teach composition on an adjunct basis -- piecing together courses here and there to create full-time work. I felt like I'd lost my path - coming home seemed like moving backwards -- but I knew that in order to truly write I had to make peace with who I was, what shaped me, my life here -- rather than running away and living out some idealized idea of what the West meant to me. It seemed like all the dread and fear of all the years I'd lived here before came to visit me then, finally. I hardly noticed that I was leaving my apartment less, avoiding people -- and then the panic attacks started -- and that year I walked through the gate to a plane taking me to visit my best friend in Florida I feared the enclosed space of the plane like I never had. Christmas shopping crowds made my throat go dry.
I found my way to a Buddhist Phd who was the first person to ever teach me the strategies of CBT -- which were, for me, a miracle. Between buddhist thought, yoga, exercise and CBT I was able to come back to life, into a life.
I've been thinking about it more because of the pregnancy. I actually have felt remarkably calm. I have felt whole. Don't misunderstand me -- I have had moments of panic and my mind can occasionally, out of habit, run on some negative loop (the h1n1 epidemic has been particularly challenging) but I am excited and confident about this next phase of life.
I still feel sheepish about certain things -- that my adaptive response to anxiety didn't involve the kind of discipline that meant actually finishing my novel -- I'll find the groove someday, but for now I have chosen this life -- G & me guiding W towards his future, trying to equip him with the tools he needs to thrive -- making a solid and happy home -- ignoring the undone things and trying to focus on the places where I succeed. It may not be impressive to the outsider -- but when I look back on my own beginnings I can think of nothing more important than a safe home filled with love.
The last section of the Wasteland is called 'What the Thunder Said'
V. WHAT THE THUNDER SAID
After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and place and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
With a little patience
Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock without water
If there were water we should stop and drink
Amongst the rock one cannot stop or think
Sweat is dry and feet are in the sand
If there were only water amongst the rock
Dead mountain mouth of carious teeth that cannot spit
Here one can neither stand nor lie nor sit
There is not even silence in the mountains
But dry sterile thunder without rain
There is not even solitude in the mountains
But red sullen faces sneer and snarl
From doors of
mudcracked houses
If there were water
And no rock
If there were rock
And also water
And water
A spring
A pool among the rock
If there were the sound of water only
Not the cicada
And dry grass singing
But sound of water over a rock
Where the hermit-thrush sings in the pine trees
Drip drop drip drop drop drop drop
But there is no water
Who is the third who walks always beside you?
When I count, there are only you and I together
But when I look ahead up the white road
There is always another one walking beside you
Gliding
wrapt in a brown mantle, hooded
I do not know whether a man or a woman
—But who is that on the other side of you?
What is that sound high in the air
Murmur of maternal lamentation
Who are those hooded hordes swarming
Over endless plains, stumbling in cracked earth
Ringed by the flat horizon only
What is the city over the mountains
Cracks and reforms and bursts in the violet air
Falling towers
Jerusalem Athens Alexandria
Vienna London
Unreal
A woman drew her long black hair out tight
And fiddled whisper music on those strings
And bats with baby faces in the violet light
Whistled, and beat their wings
And crawled head downward down a blackened wall
And upside down in air were towers
Tolling reminiscent bells, that kept the hours
And voices singing out of empty cisterns and exhausted wells.
In this decayed hole among the mountains
In the faint moonlight, the grass is singing
Over the tumbled graves, about the chapel
There is the empty chapel, only the wind's home.
It has no windows, and the door swings,
Dry bones can harm no one.
Only a cock stood on the
rooftree Co co
rico co co
rico In a flash of lightning. Then a damp gust
Bringing rain
Ganga was sunken, and the limp leaves
Waited for rain, while the black clouds
Gathered far distant, over
Himavant.
The jungle crouched, humped in silence.
Then spoke the thunder
D A
Datta: what have we given?
My friend, blood shaking my heart
The awful daring of a moment's surrender
Which an age of prudence can never retract
By this, and this only, we have existed
Which is not to be found in our obituaries
Or in memories draped by the beneficent spider
Or under seals broken by the lean solicitor
In our empty rooms
D A
Dayadhvam: I have heard the key
Turn in the door once and turn once only
We think of the key, each in his prison
Thinking of the key, each confirms a prison
Only at nightfall,
aetherial rumours
Revive for a moment a broken Coriolanus
D A
Damyata: The boat responded
Gaily, to the hand expert with sail and oar
The sea was calm, your heart would have responded
Gaily, when invited, beating obedient
To controlling hands
I sat upon the shore
Fishing, with the arid plain behind me
Shall I at least set my lands in order?
London Bridge is falling down falling down falling down
Poi
s'ascose nel foco che gli affina Quando fiam ceu chelidon—O swallow swallow
Le Prince
d'Aquitaine à la tour
abolie These fragments I have shored against my ruins
Why then
Ile fit you.
Hieronymo's mad
againe.
Datta.
Dayadhvam.
Damyata.
Shantih shantih shantih
After a poem steeped in the disillusion of what humanity can come to after the horrors of WWI --this last section to me seems to be the rejection of the formal structures of Elliot's world (Christianity as he understands it, materialism etc.) and in the end he too leaves us with the only way he can make sense of it all -- a fable from the hindu scripture -- and its formal ending -- 'peace with passeth all understanding.'
So that is what I focus on -- not the structures (whether intact or crumbling) -- but the relinquishing of control into a sense of peace.
Shantih, shantih, shantih.