At New Year’s Eve 2016, I was at a friend’s house and noticed a book on the astrology of 2017. Some of us picked it up and looked it over, in conversation. From the author’s picture I had immediate (and inaccurate) judgments of the content, thinking it would be a relatively shallow New-Agey text. When I flipped open the book, the first thing I saw was this quote was this epigraph:

Holy shit, I thought. Even the nice white New Age lady is pissed off.

Earlier this year I was thinking about mental hygiene during a propaganda war, which continues to be a worthwhile practice and point of contemplation as the United States’s traditional arbiters of meaning have gone to war against each other and insurgent communities are using this opportunity to flood us with noise, misinformation, and seductively simple answers.

No matter how powerful anger makes us feel, it’s exhausting to be angry and guarded all the time. It’s exhausting to feel overwhelmed and powerless. And as life-transforming as it is to accept what we cannot change, there are times when it is also necessary to change what we cannot accept.*

When I feel the most cynical, despondent, and powerless, that’s when I know I need to get off my ass and do something important to me. If there’s a cause that matters, then I need to make the phone calls to the congresspeople, go to the city hall meeting, even symbolic gestures like lending material support to works I care about. Powerlessness is a significant feature of several mental health disorders, which can lead to a complete surrender of agency like a major depressive episode or, seemingly paradoxically, into destructive expressions of rage.

We are made to be heard and seen, to have an impact on our surroundings, and to belong to a community. These days, it is unfortunately all too easy to lack any of these experiences of connection and personal or social power. And people who have felt powerless or victimized—whether we think it’s warranted or not—are quick to jump onto self-righteousness and gleeful joy in others’ suffering should the balance of power abruptly shift.

None of this is particularly helpful in changing the things we cannot accept. Spite often relishes the conditions that cause it. People nourishing spite love being attacked and persecuted, even if they accuse others of being “victims,” because the high of feeling self-righteous feels more enticing than the vulnerability of acknowledging how one has been hurt and what one truly wants.

This is one of the reasons why I am a proponent of setting aside labels like “good” “bad” “positive” or “negative” for our feelings—fixating on the “good”-feeling feelings and avoiding the “bad”-feeling feelings can turn us into self-absorbed assholes. Whereas embracing the value of all of our feelings, and understanding that taking meaningful action might engender painful or “bad”-feeling feelings ultimately contributes to true personal power. Changing the things we cannot accept is rarely easy and without stress, but these are the experiences that draw upon the virtues of courage and resilience—the qualities we celebrate in our heroes.

* Discerning between the things we can and cannot change is a subject larger than the scope of a blog post. However, I do think they are complementary. As I learn the things about myself that I cannot change and must accept, so am I better able to accept these things in other people. Then my efforts toward changing what I cannot accept are more effective, as I’m wasting less energy on things out of my control.

A long time ago, people would tell me I was hard to read. I didn’t understand their problem, and was a little suspicious of what they wanted to “read” and why. For me, my feelings felt profoundly visible and all-encompassing, a shyness and sensitivity that was easily disturbed. A part of me believed the story of shame, that deep down there was something wrong with me that needed concealment—though, after years of deep reflection, I’ve come to believe there is no secret hidden thing. It was shame itself that didn’t want to be seen.

Yet I came to learn that, no matter how vulnerable I felt inside, most folks around me were unable to sense this. I’d learned how to mask my feelings behind a cool, neutral, unreadable expression. There are many possible reasons for this, but I think the most relevant is likely that as a kid I learned that showing weakness or vulnerability was like throwing blood in the water and attracting sharks. Better to not show how hurt I felt so they wouldn’t know how to hurt me.

As an adult, this became an automatic, unconscious, and crippling protection. While I hid my vulnerabilities well, so too were my warm feelings and my desires concealed. When I wanted to connect with someone, as a friend or a potential partner, I felt terrified of letting down the façade and sometimes couldn’t even figure “how to do it.”

This was my coping strategy, this mask, and it worked well. Exquisitely well. People came to appreciate things about my neutrality. They could confide in me things that bothered them. And as I entered the adult working world, I could take on lots and lots of responsibility and I never let on when it was too much or I was struggling. I was rewarded for it, but it made me easier to exploit.

Recently I’ve been thinking about the perils of a coping strategy that is too successful. Coping strategies are the habits, practices, and patterns of being we rely upon to manage stress and pain, often with avoiding or minimizing suffering. A colleague recently distinguished these from true self-care strategies, which I find useful—self-care in this context being about tending and caring for the fullness of myself, even things that feel unpleasant or painful.

We know the coping strategies that are obviously unworkable. These are the ones that leave scars, break apart relationships, consume hours of our time and hundreds of our dollars and leave us feeling emptier and more fragile. The ones that create as many problems as they “solve.”

This time I’m thinking of those coping strategies that work too well, but are still merely containing our suffering rather than relieving it. The tendency to smile and say thank you when inwardly you burn with resentment. The hours spent at work, earning accolades and promotions while your inner life empties out and your home remains a cold, terrifying place. That ability to make people laugh and laugh while inwardly you feel you are dying and desperate for someone to care.

These strategies are pernicious and difficult to surrender. I couldn’t say if they’re easier or harder than the less workable ones, and comparison doesn’t matter. The point is that the person experiencing these, even the people around them, might not see them as problematic. Surrendering these coping strategies might feel irrational but also terrifying. They are the hardened exoskeletons formed around a soft, vulnerable interior, but  this protection also blocks deep nutrition and meaningful connection. Indeed, this might be protected even from our conscious selves.

Unfortunately, it is that which is vulnerable that needs liberation from the outworn coping. At some point we need to learn how to take risks, and with whom. My neutrality is not inherently bad, what was problematic was that it had become so automatic it was no longer a choice. Now I can bring that neutrality to situations where it is useful, where my inner responses need containment or time and I need to attend to others. But I have to work harder than I like to share my vulnerability with the people who have earned it.

It Follows (2014)

Recently I was home sick for a weekend and decided to catch up on some movie suggestions. It Follows had come up multiple times recently in discussions with a friend, so one night I watched it. The next day, I watched it again. It still haunts me. Note: this is a somewhat dark reflection on the movie, and some details that might be spoilers.

It Follows is a film whose genesis was a nightmare that writer and director David Robert Mitchell had as a child, in which a shapeshifting monster followed the dreamer wherever he went. In the movie, the main character Jay learns after a sweet date and what looked like satisfying car sex that her lover has passed along to her a curse—she will be followed by a nebulous monster, invisible to everyone else but always visible to her, though its forms constantly change. The monster walks slowly, almost constantly, directly toward her at all times. If the monster gets a hold of her, it will kill her, and then start hunting the one who gave the curse to her. The only way out is to pass the curse to another through sex, and hope that they don’t get killed.

The dreamlike quality of this monster and its “rules”—which, will explained precisely in a scene that first appeared over-the-top and later makes complete sense—paradoxically immerse the viewer into the dread and anxiety suffusing mundane reality. The film trains us very quickly to constantly scan the background for people walking very slowly and deliberately toward Jay. Often we are more concerned and attentive than she is, as a few very masterful scenes suggest. We learn we cannot trust the film to communicate danger with the expected tropes of horror camera angles and music. The camera seems dispassionate, taking in all content with equanimity. That person walking could be a random person, or it could be the monster.

The transmission of the curse through sex naturally brings up connotations of sexually transmitted disease and the loss of innocence, but I think the film succeeds in not allowing its symbolism and weight be reduced to those tropes. Jay has had sex before, and she and her friends talk about innocent days of sexual experimentation, when they had no idea what they were doing until adults showed up to instill shame in them. There is a loss of innocence that happens as Jay becomes more conscious of the danger she is in and more calculating about the risks she must take.

It would be easy to demonize the man who passed the curse along to her, but the curse is in many ways like several dilemmas of adulthood: there is no way out without someone getting hurt. If she fails to pass the curse along, she will be killed, and then her ex-lover will be hunted again. If she passes the curse along, she’ll endanger her new lover, and there’s no guarantee she won’t have to deal with this problem again.

This film had me reflecting much on the experience of people with posttraumatic stress disorder: the hypervigilance; becoming alarmed at things others can’t perceive; the disturbing and intrusive images. The deep knowing that you could be hurt at any time, that there is nowhere entirely “safe” where a predator couldn’t emerge at random—It could be a stranger, or as one character says, “Sometimes I think It looks like people you love just to hurt you.”

Adults are curiously peripheral in the film, not sources of strength and support but rather inept, invisible, or themselves sources of potential danger. This could be a social commentary but it also suggests that every person is fallible and part of maturation is confronting that I must be responsible for my life and who I trust with it. Whether to succumb to the horror, to fight back, to pass it along—there is no right option, no choice to forever free one’s self of danger. I think that is the innocence lost in this movie—the belief in a world of safety and easy moral choices.

I think the film illustrates a dilemma trauma survivors in particular have to face, but truly all of us living in the United States (probably beyond) need to wrestle with at one time or another. We do not live in a world where safety is guaranteed, yet we are here and this is the world where our life occurs. How do we manage security and risk without wanting to regress into children seeking a strong adult to keep us safe?

Commentators on the movie suggest that the monster is laughable, as one could simply take a plane across the country and rest easy knowing it will take forever to walk toward you. But that’s the horror again. Eventually It will find you. And what kind of life would you build if you simply ran away each time It did? Instead of living forever isolated and on the run, Jay eventually decides to bring someone she trusts into her dilemma—a conscious partnership of mutual support. Though the film is ambiguous as to whether their fighting back is successful or not, the act of fighting back seems to have empowered her, wisened her, prepared her for an uncertain future.