Mother’s Day and the Mother Wound

"Phantom Mother" by David Jewell.

Anyone else feel like an outcast on Mother’s Day? It’s not a festival of sunshine and flowers for all of us. Mother’s Day can be a minefield of emotional triggers for those who grew up in dysfunctional, abusive, or neglectful family systems.

The article linked below is addressed to daughters but it was a huge eye-opener for me as a son as well:

Maternal Narcissism Survey: Is This Your Mom?

For many men, there is nothing more terrifying (or unthinkable) than looking into their own Mother Wounds. I know my Father Wound well. It hurts but does not scare me. My Mother Wound terrifies me. It feels like a pit from which there is no return.

My Mother Wound is equally deep in its own way as my Father Wound, but much of it is hidden in the weeds and shadow realms of my psyche. Finding its various elements and aspects, seeing them, and recognizing them for what they are has been a tricky job, largely because my mother was the person I trusted most and she conditioned me not to see what she was doing to me. The culture has amplified, and continues to amplify, the conditioning my mother laid into me so early and so often that women (especially mothers) can never do wrong or be at fault, making a tough slog through the dark feminine underworld in my own psyche even tougher.

Today on Mother’s Day, I’m supposed to be the adult (as always) and set my own needs and feelings aside (again) for a woman who has no interest in me, and never really has. The loneliness and alienation I feel today as a son is multiplied by the non-stop social and media imperative to adore and deify a mother who has no understanding of me and no use for me outside the scope of my being what she wants me to be to suit her own needs.

This topic isn’t easy for me to write about. It feels incredibly risky. I feel safer writing about being sexually abused than writing about this. I never felt unduly constrained by the urge or the obligation to protect my father from my feelings about him as I wrote about working through my Father Wound. Mother is another story entirely. I expect I’m probably going to stumble and make mistakes going forward down this path, but this is work I have to do if I have any chance of being whole, mature, and complete as a man.

I know there are other men out there who need to do this work as well and I hope they’ll feel encouraged to do it. Any man who is consciously, actively working on his Mother Wound deserves support and understanding. By confronting one of our culture’s most powerful and deeply entrenched taboos, he is charting a necessary and critically important new route through largely unexplored territory for other men.

Photo credit: David Jewell. Used by permission.

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Rediscovering the original wound

"Old House on the Rocks" by David Jewell.

“What you wanted, you still want.” ~ Robert Bly

1. Wound

I’ve been blessed during the last couple of months with another very fruitful phase of deep and intense creativity, soon to end when I return to the world of “real” work, i.e., work that is “real” in the sense that it’s perceived by others as having financial value. I love doing my creative work and know that it has tremendous value, but unfortunately that doesn’t translate into any sort of income, at least not so far.

It is, as always, terribly difficult for me to accept the hard reality that the work I love so much, that moves me so deeply and comes so naturally to me, doesn’t provide me with any material support. I know that there are many other writers, artists, guides, healers, and teachers out there (some of whom, quite frankly, have less to offer than I do) who are successfully supporting themselves doing their work. I don’t know why I’m not one of them, and it eats at me all the time.

The work I do, my real work, is a birthright once lost that I’ve fought long and hard to reclaim for about a quarter century now, nearly half my life. The battle has not been without its rewards, but I’ve also made some unexpected discoveries that have left me with painful questions I can’t answer, as expressed in the poem below.

original wound

many years ago
I heard a man say
	your gift to the world
	is in your wound
I found this idea very appealing
I ran with it
and I've been running with it
ever since.

in the last twenty-five years
I've discovered many gifts
	most long forgotten
	or never known to me at all
in many wounds.

many of the wounds had been
	forgotten as well
or not so much forgotten as buried
	deep in my dreams
beneath my skin
	in muscle and bone
under a series of identities
	I'd been forced to assume
	throughout my life
in order to survive.

so what I was told
	was not wrong
there truly is treasure to be found
	under the scars
but I've also learned something else.

my gifts
much like my wounds
are for the most part
unseen and unwanted by the world.

needed they may be
wanted they are not.

I wasn't prepared for such a discovery
and I also wasn't prepared for the fact
that the land of wounds seems to stretch out
into infinity
in every direction.

every wound I tend and heal
seems to be an entry point into several more
they cover one another like bandages
they're nested inside one another like
	a set of chinese boxes
	each of which contains
	another set of chinese boxes
and every wound I tend and heal
yields yet more gifts
that the world does not want.

perhaps that is the original wound
the mother of them all
the point of origin
the first and deepest cut
and the ultimate rejection:

	the world does not want me
	and it does not want
	what I have to offer.

if I could talk to the man who sent me
down this path twenty-five years ago
I'd love to ask him
	how am I to live
	and what am I to do
	with so many gifts
	the world does not want.

2. Reflection

I sat with this poem for several days after writing it. One of the core themes, that “the world” does not want my gifts, felt a little off to me. I know of many people who value my work and there are probably many others who do so of whom I’m unaware, so it struck me as an overstatement of the facts to say that “the world” does not want my gifts. And yet it still felt true to me at some fundamental level.

In terms of dollars and cents, I could still make the argument that a world that associates no financial value with my work doesn’t want it, and I think that was a lot of what was motivating what I was feeling when I wrote the poem, at least on the surface. But as I sat with what I’d written, I was reminded of something I’d heard someone (I can’t recall who) say years ago: When we speak in absolutes (always, never, etc.) about things that are upsetting us, there’s a good possibility that we’re actually expressing the pain of a wound that goes all the way back to childhood, when we were so very little, our needs were so very big, and everything that affected us deeply felt so very absolute.

I was then reminded of the following comments made by Robert Bly to Bill Moyers during the excellent but now largely forgotten documentary A Gathering of Men, first televised over twenty years ago:

Alice Miller says a wonderful thing. She says, “When you were young you needed something you did not receive. And you will never receive it. And the proper attitude is mourning.” Mourning is the proper attitude, not blame, mourning. And she says another thing that’s so wonderful. She says, “You know, when you came into the world, you brought this fantastic thing with you, coming from centuries, and eons, and you brought this amazing energy in from animal life, reptile life, other planets, everything. And this incredible energy you brought in … your parents didn’t want it. They wanted a nice boy. They wanted a nice girl.”

You couldn’t believe it. That’s your first rejection. It’s pre-verbal. That’s why encounter groups won’t get to that. That’s your first rejection. It’s profound. They didn’t want the energy you brought. They wanted a nice boy or a nice girl.

So when you’re small, you realize you can’t fight against that stuff your parents want … so you make up a kind of a false personality … You invent a false personality, and you survive.

And then Alice Miller says, “Now, please, you’ve got to forgive yourself for that, because you did it to survive, and you did the right thing. You did the right thing.” And the proof of it is that you’re alive right now.

I’ve watched A Gathering of Men many, many times over the years. Bly’s comments above, while they’ve always made complete sense to me, have never resonated more strongly with me than they do now, and I believe that’s the core truth I express near the end of my poem:

perhaps that is the original wound
the mother of them all
the point of origin
the first and deepest cut
and the ultimate rejection:

	the world does not want me
	and it does not want
	what I have to offer.

“The world”, especially when we are very young children, is home and family, and we construct our internal model of the world, the one we will carry forward into adulthood, accordingly. A large chunk of that model is developed in response to interactions with our parents. My mother wanted me to be someone else and did her best to make me into what she needed until I was no longer young enough, malleable enough, and helpless enough to be controlled and manipulated. My father didn’t want me at all and did his best to destroy and, ultimately, to eliminate me. I formed my identity living in the shadow of two giants too blinded by their own damage and their own unmet needs to see who I was. I wanted to fix both of them, even if it meant sacrificing and forgetting myself, and I tried for many years. Tried, failed, and lost myself in the process.

That was the world, as I experienced it, not only from the moment I was born, but from the moment I was conceived. That was, and is, my original wound: I was not wanted as I was, what I had to offer had no value, and I had to make myself into what “the world” wanted me to be in order to survive.

Now I’m about to do it again.

3. Process

I’m good for about ten hours of productive work on an average day, assuming I’m feeling well. I need about eight hours of sleep nightly. That leaves six hours for everything else: self-care, social activities, exercising, shopping, preparing and eating meals, etc. And down time.

Down time, doing nothing in all its forms (resting, daydreaming, allowing my thoughts to wander, etc.), is incredibly important for me, and not only because it’s the source of so much of my creative insight. It’s also vital, as I am a Highly Sensitive Person (HSP), to my health and well-being. Additional down time is necessary for HSPs because of the high amount of information we perceive and receive, and the depth and thoroughness with which we need to process it. Without at least two to three hours of down time every day, my edges begin to fray and I can lose my center pretty quickly.

Any so-called “9 to 5″ job I get is going to consume my ten productive hours a day (at least) leaving me with nothing for my deep creative work, my real work, the work that gives my life meaning and keeps me alive: the work of my soul. Even worse, it’ll consume my mornings, which are the keystone of my entire process.

For almost eight months now, I’ve been off the chain. A lot of people might assume that not having a job would equate to not working. Not so. I’ve been working about ten hours a day most days, sometimes more. No one has been making me do it. It’s natural. I wake up every morning with ideas. The process begins while I’m sleeping, in my dreams. My most productive hours, as a writer, generally come before noon. What happens in the morning determines the creative course of my day, and it happens every day, of its own accord, provided that I’m available to it.

There’s a wonderful sequence in the movie Pollock (one of my absolute favorite films). It begins with painter Jackson Pollock waking up in the morning. He dresses and stumbles half-asleep into the kitchen, where his wife hands him a cup of coffee as he lights his first cigarette of the day. She helps him put on his heavy coat, hat, and scarf and sends him off with a wordless pat. He steps outside into a cold winter day and trudges the short path through the snow to his studio in the barn. Once inside, he stokes the wood stove, gets a fire going, and starts his work for the day, which will last into the evening.

It’s clear from the presentation of this sequence in the film that this is his daily pattern, and I resonate with it so strongly because it is, in my own way, my daily pattern as well, that is, when financial circumstances allow it. I’ve often wondered how Jackson Pollock would’ve tolerated losing his mornings five days a week in exchange for sitting in a cubicle somewhere. My guess is: not well.

Doing creative work, in the way I do it, requires a certain amount of open time and space. In a lot of ways, I’m a channeler. Most of what I write (and all of what I draw) comes to me without any specific conscious intention. I never “try” to write a poem or an essay about anything. Words and ideas simply start coming. Sometimes, as in the case of most of my poetry, the bulk of the thing comes to me quickly and it’s all I can do to keep up. Essays can take a bit longer to germinate, beginning with a general idea or feeling that then develops in the background of my mind over a period of days, weeks, or even months until suddenly, one day, it’s time to write.

Whatever the case, whether it’s a poem that started as I was waking up or an essay that’s been incubating for a couple of weeks, when it’s time to write, I have to be there for it because, if I’m not, that transient energy that’s attempting to coalesce into something more solid will be lost, and lost forever.

I never know where a poem or an essay is going when it begins, and I never know how long it’s going to take for the process to complete itself. My most recently finished poem (“shelter”) began when the first several lines came to me completely unplanned (as usual) as I was sitting in my truck in the parking lot of the neighborhood grocery store. I was supposed to be on my way to be drug tested for my upcoming job, but took the time to follow the thread those first lines offered as far as I could before hitting the road. After a short drive, I sat outside in the parking lot of the drug testing facility and worked on the poem until the place was about to close, at which point I set down my pen and pad and went in.

By then, the poem was nearly complete, but I still wasn’t satisfied with the ending. The last three lines finally came to me (again, unexpectedly) about half a mile into my evening walk. I didn’t have anything with me to write them down, so I had to repeat them to myself for a mile like an ad hoc mantra so I wouldn’t forget them before I made it home. I continued to poke at what I’d written for several hours though the evening until I felt satisfied, more or less. I never know if anything’s really done until I’ve slept on it.

All in all, from the moment the first couple of lines came to me until I felt comfortable enough with what I had to call the poem done, the process took about five hours. Five hours. Nineteen lines. Ninety-five words (including the one-word title, which also had to be dug out of the word stream). That’s what I mean when I say open time and space is required to do this work. If I’m unable to give those five hours to that poem when I did, there is no poem, period.

4. Survival

I start the new job in a couple of days, and I can already feel my creative engines shutting down. The same part of me that generates all the ideas and insights also knows when the required window of open time and space is closing. Shutting the process down, as bad as it feels (and it feels like death itself), is a necessary and largely involuntary form of protection for me. Not being able to roll out of bed, trudge out to my workshop, fire up the stove, and get to my work every morning means that insights and ideas, if they come, will have no opportunity for development, realization, and expression.

Imagine that if every time you started having sex you were forced to stop before you were finished. Imagine having that experience every morning, day after day, week after week. Before long you wouldn’t even want to start having sex, or even want to feel sexual at all, but that underlying, undeniable life energy would still be there in you nonetheless, looking for a way out, and you’d feel it. That’s how I’m going to be feeling when the circumstances of making a living force my most vital energies underground once again.

As a result, I would expect this to be my last blog post for a while. Maybe a long while. It’s hard to say. Sometimes my creative energy is powerful enough to push its way through constraining circumstances somehow, but if I’m not available to do something with it, I’ll only wind up frustrated and there’s a part of me that would rather feel nothing at all than feel that.

Money is an unfortunate necessity, and from that standpoint, I’m grateful to have this new job. Grateful, but not happy. It’s possible to feel one without feeling the other; gratitude and happiness are not the same thing. I’ll go forward, mindful of my original wound and its influence on how I see and experience “the world”, and I’ll try to keep Robert Bly’s comments paraphrasing Alice Miller in mind:

“Now, please, you’ve got to forgive yourself for that, because you did it to survive, and you did the right thing. You did the right thing.” And the proof of it is that you’re alive right now.

What I wanted, I still want. But once again, I’ll do what I have to do to survive, and I’ll forgive myself, as best I can, for doing it.

Photo credit: David Jewell. Used by permission.

Painful projections

"Blue Projection Blindness" by David Jewell.

Last December, I published a post titled “A male survivor’s perspective on ‘rape culture’” in which I wrote about attending my first group for male survivors of childhood sexual abuse at the local rape crisis center. I recalled that as men entering a space most prominently defined as a safe space for women, an environment where men were perceived by many to be the enemy, we were less than welcome:

I’ll never forget the looks I received from the women I encountered as I crossed the parking lot and entered the building. Hostility would be putting it mildly …

I could understand the attitude, given the “men are perpetrators, not victims” orthodoxy of the time and the likelihood that at least some of the women felt profoundly unsafe around men due to personal history. I could allow for all of that, but it didn’t make screwing up the courage to face the unearned anger, scorn, and disdain every week any less of a challenge.

The publication of my post resulted in an email conversation with a female reader who, having also read some of my poetry (including this one), said:

I wrote something, encouraged by the directness of your poems, and even though I don’t want to share it as ‘me’, I would like to share it anonymously. The idea came to me that this could be something that would fit well with your mission and would allow you to address the topic you addressed here further, on how it’s important for women to understand the impact they have on the men around them who had nothing to do with their abuse trauma …

Writing this has been a big healing milestone for me and an anchor point and I wouldn’t have if it hadn’t been for your e-mail. Thank you!

With her permission, I’m posting her poem below (anonymously per her request). Beyond its personal significance for the author, this poem is a wonderful example of how an open-hearted dialogue, in which men and women hold their own space while allowing space for the other, can lead to significant new insights and better understanding of self as well as of the other. As such, it is a welcome antidote to the deeply held antagonism and bitter power struggles so rampant nowadays in what is commonly known as the gender wars. It serves as a much-needed reminder that a healing conversation between men and women is still possible, especially if we are willing to identify and take full ownership of our personal histories, projections, and fears.

Here is her poem. It is untitled.

I already knew that love was foreign to you.

Yet mom always said you are a typical (normal) man

and so for a long time I believed her.

I knew that getting on your good side
meant being rational.
I knew that the closest thing you knew to love
was respecting someone
because they were able to win.

I tried hard to win.

Yet the better I got,
the more I was losing.

I got to a point where I realised I didn't want to compete with you for approval.
I didn't want to try so hard to get your 'positive' attention.

I started to understand that it wasn't normal that I had to try so hard.
I started to understand that you are not a typical, nor normal man at all.

All this time I'd expected all the men in my life to be like you,
and so I let them get away with being cold and rational,
just like I expected.

I was pushing away all the good men out there,
because I didn't believe they really existed.

Sometimes I was mean to someone
and I didn't understand where it came from.
Or I didn't realise I was being mean at all.

I had forgotten that I was maintaining
two different versions of you:
version one was the man who did
what you did.
Version two was the man who did
what you should have done.

I waited a long time for version two to materialize in you,
and all that time,
I was angry at all the men out there
because I believed that deep inside,
they were all a version one of you.

I was confused.

I needed to be confused
to survive the insanity.

So I saw you everywhere,
except in yourself.

Now that you are you again,
all the other men
can again start morphing back
into who they truly are.

No longer version one of you.

I am sorry
for all the pain
of those projections
that kept me safe
from my own fear
of the truth.

incest.

~AnonyMiss.

Photo credit: David Jewell. Used by permission.

“easter” featured on Beyond Meds website

My video reading of the poem “easter” from my book Iron Man Family Outing is featured today on the Beyond Meds website, accompanied by a short written reflection on the poem and its role in my developing view of my father over the years. Click here to watch and read.

the other son

every christmas
	my dad travels halfway across the united states
	from the burned-out little mill town on the hudson
	where we all grew up
to visit the two sons he likes
in austin texas.

my dad has three sons in austin texas
	I'm the other son.

for fifteen christmases he's been coming to town
	like a bad santa
never tells me he's coming
makes no effort to see me
he used to call me after he'd already been here for a week or so
and say
	I'm leaving in a couple of days
	so if you want to see me
	you'd better get over to your brother's house tomorrow
but he doesn't even bother to do that anymore.

strange as it might sound
I've noticed that I always feel different when he's in town
	even if no one tells me he's here
it's hard to explain but
	I always feel kinda off
	sad for no reason
	angry for no reason
	defeated and tired
and all I wanna do is sleep.

when I was a kid
	my dad hated christmas
	and every year
	he found a new way to ruin it for me
I guess old habits are hard to break.

I gave up on him
	and my relationship with him
a long time ago
but his christmas trips to austin still affect me.

I'll never understand
how a father can travel halfway across the country
every year
and pretend he only has two sons in this town
when he has
three.

(PDF version)

Poetry on video: Seven poems from Iron Man Family Outing

I’ve created a playlist on my YouTube channel (rickbeldenpoet) for the video readings I made a while back of poems from my first book, Iron Man Family Outing: Poems about Transition into a More Conscious Manhood. The seven poems included in the video series are:

  • little iron man
  • half-life
  • fused at the wound
  • gift (iron man dream #3)
  • charley horse
  • body memory
  • easter

You can watch me read these seven poems in sequence using the player above, or you can click here to select and play individual videos directly from the YouTube page for the playlist.

PDF versions of these and many other poems from Iron Man Family Outing are available on the “Contents” page of my website.

Angry like Dad

When I was a child, one of the inviolable rules of the household, as articulated over and over again to my younger brother and me by my mother, was this:

“Do not, under any circumstances, talk to your father when he comes home from work.”

This was, of course, the precise opposite of what I wanted. I adored my father when I was a boy. I was just about shaking with excitement to see him every afternoon when he came home from his job in the factory. I had so much to tell him about my day, whether I’d spent it inside at school or outside playing during the summer. More than anything, I missed him terribly every day and wanted to be near him, to be close to him, to hear his voice, and to know that he was interested in me.

We did our best, my brother and me, to obey Mom’s rule to the letter. I recall many a late afternoon sitting quietly on the couch, waiting as patiently as I could for the signal from my mom that it was finally okay to pass from the living room into the kitchen, where my father would be sitting at the dinette table, as he did every day upon his re-entry into the family home, still dressed in his greasy work clothes and finishing a cup of coffee.

As I sat on the couch and waited, I would listen carefully to my parents talking for any clues I might gather about my dad’s day at work and his mood. Sometimes I would sneak over to the doorway between living room and kitchen, that invisible boundary I was not to cross, to try to hear the conversation a little better. If I was feeling unusually eager, I might try to crook my head around the door jamb to sneak a peek at the two of them. If feeling exceptionally brave, I might even attempt to catch my mother’s eye to remind her that I was still waiting, which, if I succeeded, invariably resulted in a very stern “Back on the couch right now!” look from Mom.

It was hard to wait, and as I said we did our best, but being kids, we were sometimes overtaken by our natural excitement and spontaneity, approaching Dad immediately as he walked in the door after work (or shortly thereafter) in spite of the prohibition against doing so. The result was inevitably a quick and dramatic reminder of why the rule was in place, generally some variation of my dad reacting angrily at our presence, glaring at my mom, and growling something like “Get those goddam kids away from me!”

It was no surprise to see my father angry. It seemed to me, as a boy, that he was angry almost all the time, but he was especially angry at the end of the workday. This was something I could not understand. I knew that he had a hard, dirty job, but I’d only seen the building where he worked from the outside, so I could only imagine what a day there might be like for him. Nothing I could come up with, given my very limited experience as a child, was sufficiently horrible to make him not want to see me right away when he got home every day, so I began to wonder if it was something I’d done, or something about me, that would make him crazy if I approached him too soon.

Even after the necessary time to sit at the table talking with my mom and settle himself, my father was hardly what I’d call enthusiastic to see his boys. It seemed more like seeing us at the end of the day was something he tolerated, a duty he was required to perform. He was still, on most days, irritable, like he had to make a big effort to deal with us in a civil manner.

This was always a huge letdown, a big disappointment for me. I’d waited, I’d followed the rule, and I’d been patient, hard as it was to do so, and there was no real payoff. It was like talking to a surly statue, or maybe an asocial robot. I wanted so badly to interact with him, to engage with him, but there was no engagement to be had, just distracted silence on his part as I poured my heart out to him, punctuated by an occasional monotone “Okay” or “That’s good” or a non-verbal grunt.

The visit typically ended with me dejected, hopes crushed, feeling like I’d failed with him yet again, and the rest of the evening felt blue. Then I’d start the whole cycle again the next day, and the next, and the next, in the optimistic expectation that one day things would be different, or that maybe I could figure out how to be better somehow so my dad would want to see me and would be interested in me at the end of his day.

As time passed and I got older, I became more independent and developed friends and other interests outside the home that ended my “waiting for Dad to come home from work” ritual. But even as a teen, I knew better than to go anywhere near him as he was pulling into the driveway at the end of his shift because that was just asking for trouble.

As a boy, I idealized my father. His anger when he arrived home every day mystified me. I knew, or had some sense, that his job was difficult, and that he was tired, but I couldn’t understand why that would make him so hateful toward his own boys. In the absence of any reason or explanation that made sense to me, I came to the conclusion that he was reacting to some failure or deficiency on my part, and devoted myself to doing better.

By the time I’d reached my late teens, years of relentlessly abusive behavior toward me on my father’s part had stripped away my boyhood idealization, and I was left with the view that he was just a mean-spirited old bastard I could never satisfy, no matter what I did. That wasn’t far from the truth, either. But it wasn’t the whole truth.

Many years down the road and having done an enormous amount of personal work to come to terms with my history with this man, I’m able to see him more fully as what he was and is: another human being with his own pain and disappointments, trials and tribulations. This doesn’t excuse or absolve him of any of his bad behavior, but what it does do is help me understand him a little better, bit by bit, which is something I’ve been driven to do for as long as I can remember, ever since I was a child. Understanding him, in turn, lets me off the hook, bit by bit, because it allows me to correct the belief I’d taken on as a child that I was somehow responsible for his moods and behavior, a view youngsters develop all too often when their parents act out their unhappiness as openly and dramatically as my father did.

This process of coming into a deeper, more comprehensive understanding of my father and his behavior during my childhood (and after) has not been a strictly intellectual, analytical experience. Far from it. There’s been a lot of gut-wrenching emotional work to do, a lot of anger and a lot of grief to be felt, acknowledged, and expressed. I’ve also had to look at myself, at my own behavior, failures, and flaws, as unflinchingly as I’ve looked at his, and there have been many times when I didn’t like what I saw.

I, too, have been an angry man, although I haven’t expressed that anger in my life the way my father did. Where he tended to direct his anger outward toward others (mostly in the home: wife, children, pets), I’ve tended to direct my anger toward myself, with relentless expectations of achievement and perfectionism and, as a younger man, a brazen recklessness with alcohol and other risk-taking behaviors that could’ve easily put me on a slab.

I’m long past the worst of that now, although I still tend to drive myself too hard and expect too much, to the point of paralyzing myself with doubt at times. I remember my mom rationalizing my dad’s brutal behavior toward me many times by telling me, “You know, he’s actually much harder on himself than he is on anyone else.” I received, accepted, and internalized this information as a fundamental lesson in how to be a man. It became one of my unconscious operating principles of manhood: a man is much harder on himself than he is on anyone else.

In practice, this creates all sorts of rather obvious problems, not the least of which is an ongoing state of self-imposed martyrdom/victimhood and its equally pernicious twin, resentment. Life is experienced as a series of traps within traps: I can never be hard enough on myself and no one else can ever appreciate it enough. If someone does me wrong, it must really be my fault somehow, even when I really know it’s not. And so on.

I operated this way for years and, not surprisingly, it wreaked all sorts of havoc on my life. I’m far more conscious of the pattern now, and far more aware of the way it was conditioned into me, so I’m far less likely to fall into that way of thinking, seeing, and relating to myself and others than before. It takes time, sometimes the better part of a life, to unwind these snakes that coil around our psyches when we are so very young and so very open to everything.

There are still areas of my life in which anger is a persistent companion. Probably the most obvious and problematic of these is that, much like my father was, I am frequently angry as hell at the end of the workday. I’ve written many times over the years about my unhappiness with the work I do for a living, as well as my ongoing struggle to move myself into a work life that’s meaningful and satisfying to me. It’s my failure to make such a move that prompted me to ask myself this question a few months back: “What can I learn from doing work that feels like such a waste of my life and my energy that I’m furious at the end of every day?” And that’s when it hit me: maybe I’ve needed to relive a part of my dad’s life so I can understand him a bit more.

Like me, my father had an enormous amount of creative, expressive energy, but for him, the mode of expression was manual (building and fixing things) rather than verbal as in my case. He loved being outside, doing projects, making things, taking things apart and putting them back together. He always had a long list of projects in mind and never enough time to do them. Every holiday and vacation was his opportunity to do the work he really wanted and needed to do, the work his interests and energy naturally drove him to do. He was, in his way, an artist, and brilliant one at that: an artist with a hammer, a wrench, a shovel, and a welding torch.

I can only imagine how painful it must have been for him to wake up every morning and put his ideas and his natural motivations aside to go into a dark, noisy, dirty, dangerous factory for eight hours, then come home exhausted with only a few hours left, at best, to do what he really wanted and needed to do. I don’t know if he hated me or not, or whether or how much he blamed me for his situation (I think he often did, given that I was the first-born child), but I do think he hated his life, and more than that, hated himself for sacrificing it every day to do someone else’s work under someone else’s thumb for a paycheck.

There’s no way for me to know if I’m actually right about any of this. I may be projecting. Maybe I’m still trying to explain his behavior on my own terms. But it does give me pause, as it did the first time I made the connection, to observe that I am, after all the years and everything I’ve seen, experienced, and learned, still living out my father’s legacy of anger at the end of the workday.

Maybe by making this connection, by making what had been unconscious conscious, I’m taking a step toward changing things for myself. Maybe, as I said, I needed to experience all this frustration for all these years in order to understand my father a little better. Maybe, in my desire as a kid to emulate him, I unconsciously took on his experience as my own, perhaps as a way to feel closer to him, perhaps as a way to share his burden, or perhaps as a task to finish for him. Maybe all of this. Maybe more.

Robert Bly has said, “When a father, absent during the day, returns home at six, his children receive only his temperament, not his teaching.” Carl Jung once wrote, “Nothing has a stronger influence psychologically on their environment and especially on their children than the unlived life of the parent.” My father, the flesh and blood man, has been out of my life for many years, but he is still with me, in his temperament and in his unlived life, at the end of every workday.

Writing this now, I’m realizing for the first time how much this pattern and experience of feeling angry like Dad at the end of the workday has been a way for me to continue to feel close to him. I’m surprisingly sad at the prospect of letting go of one of the few experiences I feel I’ve ever shared with him. I feel as if I’m betraying him somehow if I leave him, that young father who now exists only in my own childhood and psyche, to his own frustration and misery. So strange how these silent deals, these unspoken bargains we make as kids with our parents in an effort to be close with them (often without their knowledge), continue to hold so much psychic and emotional power over our lives.

There’s deep grief here for me, grief for the frustrated young father in his greasy blue overalls, a man I loved so much and for whom I wanted so much. Grief for the child who tried so hard and waited so long for the father who never really came home from work. Grief for a grown man so desperate to maintain any semblance of a connection with his father that he’s been willing to carry the man’s misery, anger, and frustration as his own for years and years.

It’s hard to know to what extent (if any) having this knowledge, and processing the grief that comes with it, will impact my own working life. This is but one of many factors with a bearing on that situation. It’s only one root of the tree, but one of the oldest and the deepest, and I will follow it to see where it leads.

Photo credit: David Jewell. Used by permission.

the day my father died

the day my father died
	I was living in rome
	doing as the romans do.

the day my father died
	I was eating carbon
	sleeping on a rock
	and mumbling to myself about the old days.

the day my father died
	I was out in the woods
	digging a big hole
	to bury all my stuff.

the day my father died
	I was writing him a letter
	everything I ever wanted to tell him
	all the good and all the bad.

the day my father died
	I was lying in a hospital bed
	waiting for him to call.

the day my father died
	I was waiting and waiting and waiting
	for him to love me
	but it never happened.

the day my father died
	I realized that I never even knew the guy
	and I never will.

(PDF version)

mercy

I see them now in their wedding photos
	so young and full of hope
I want to love them as they are
	not as I wanted them to be.

I've lived long enough now
to know what it's like to make a mistake because
	you're tired
	or frustrated about another lost day
		spent under someone else's heel
	or so hungry for love that you can't think straight
or because
	you don't know any better
	or think it won't matter later
	or think you can fix it later.

I understand
	the law of unintended consequences
I know how it feels when every passing day reminds you that
	you're not gonna live forever
I know how it feels when you realize that
	most of your life is gone
	and people you knew and loved are gone
I know what it's like to see
	how much you've thrown away
	and to realize that what you've lost
is gone forever.

I want to love them as they are
	not as I wanted them to be
I want to forgive them
	for being who they are
	and who they were
I want to forgive them
	for not being what I needed
	and still need
I want to give them
	what I want for myself
I want to free them
	before it's too late.

(PDF version)

life decisions at sixteen

I want to be left alone
I want to be anonymous
I'm tired of standing out.

I don't want to be in the spotlight anymore
I don't want to be recognized
I don't want to be seen.

I don't want to be seen
	as a "brain" or a "genius" or a "head" anymore
I don't want all the pressure to be
	"the smartest" anymore.

I don't want all the expectations anymore
I don't want all the responsibility anymore
I don't want to be a leader anymore
I want to drop out and be left alone.

I'm tired of everyone else's plans and expectations for me
I want to be free
I decide that the only way to be free is to
	reject what everyone else wants me to be
	walk away from everything
and start over.

I will show my contempt for the system
	by rejecting
	everything it offers me
I will have no support
	other than myself
I will have to struggle to survive.

I will do whatever it takes
	to show my friends
	that I'm cool.

I will do whatever it takes
	to show my dad that I am
	a real man.

I don't expect to live past forty
and see no reason why I'd want to.

(PDF version)