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Annie G. Rogers - A Shining Affliction: A Story of Harm and Healing in Psychotherapy

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Annie G. Rogers A Shining Affliction: A Story of Harm and Healing in Psychotherapy
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A Shining Affliction: A Story of Harm and Healing in Psychotherapy: summary, description and annotation

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Soars into sublime meditation...what makes this book so extraordinary is her willingness to reveal exactly what goes on in the sometimes mysterious encounter between therapist and patient.The Los Angeles Times.
A moving account of a true-life double healing through psychotherapy.
In this brave, iconoclastic, and utterly unique book, psychotherapist Annie Rogers chronicles her remarkable bond with Ben, a severely disturbed five-ear-old. Orphaned, fostered, neglected, and forgotten in a household fire, Ben finally begins to respond to Annie in their intricate and revealing platy therapy. But as Ben begins to explore the trauma of his past, Annie finds herself being drawn downward into her own mental anguish. Catastrophically failed by her own therapist, she is hospitalized with a breakdown that renders her unable to speak. Then she and her gifted new analyst must uncover where her story of childhood terror overlaps with Bens, and learn how she can complete her work with the child by creating a new story from the oldone that ultimately heals them both.

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PENGUIN BOOKS A SHINING AFFLICTION Annie G Rogers PhD is the professor of - photo 1

PENGUIN BOOKS

A SHINING AFFLICTION

Annie G. Rogers, Ph.D., is the professor of psychoanalysis and clinical psychology at Hampshire College, as well as being on the faculty of the Lacanian School of Psychoanalysis in San Francisco. She is the winner of a Fulbright Fellowship in Ireland, a Radcliffe Fellowship at Harvard University, and a Whiting Foundation Fellowship at Hampshire College. She is the author of A Shining Affliction, The Unsayable: The Hidden Language of Trauma, and many other works, both fiction and nonfiction.

PENGUIN BOOKS An imprint of Penguin Random House LLC penguinrandomhousecom - photo 2

PENGUIN BOOKS

An imprint of Penguin Random House LLC

penguinrandomhouse.com

Copyright 1995 by Annie G. Rogers

Penguin supports copyright. Copyright fuels creativity, encourages diverse voices, promotes free speech, and creates a vibrant culture. Thank you for buying an authorized edition of this book and for complying with copyright laws by not reproducing, scanning, or distributing any part of it in any form without permission. You are supporting writers and allowing Penguin to continue to publish books for every reader.

the library of congress has cataloged the hardcover edition as follows :

Rogers, Annie G.

A shining affliction/Annie G. Rogers.

p. cm.

ISBN 9780670857272 (hardcover)

ISBN 9780140240122 (paperback)

1. Abused childrenRehabilitationCase studies.

2. Child psychotherapyCase studies.

3. Psychotherapist and patientCase studies.

4. Rogers, Annie G.mental health.

I. Title.

RJ507.A29R64 1995

618.928582230092dc20 9445171

Ebook ISBN 9781440621093

Cover design: Elizabeth Yaffe

Cover photograph: Jason Shenai / Millennium Images, UK

pid_prh_5.6.1_c0_r0

For Mary Mullens Rogers

and Meg Turner

The oldest meanings of the word affliction include a vision or spiritual sight that follows upon a time of darkness and torment.

Authors Note

T he names of all the major characters and many of the minor characters in this book have been changed to protect their identity. I have also changed the time and place in which the events took place and created different physical descriptions of all the major characters except Blumenfeld. Some names in the acknowledgments are also fictitious. In particular, while there is an actual child known in this story as Ben, I have changed his name, some details of his history, and added characteristics to my portrait of him to protect his confidentiality.

Contents
I
THE OTHER SIDE OF SILENCE

If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrels heart beat and we should die of that roar which lies on the other side of silence.

George Eliot , Middlemarch

Why is it that angels like disguise?

Sophy Burnham , A Book of Angels

1

L ight filters down among the stacks inside the librarys cool vault. Dust motes swirl in the air, tiny particles of color in the muted light. I hold a stone in my hands, small, with a little dip in the very center, little dipper of a stone, cooler than the air and my handsso I warm it before dropping it into the pocket of my skirt. I begin to sort through my pile of references, assorted scraps of paper. In the vaulted air a little circle of dust motes spins in the cool light, whirled high in space. I follow it around a corner and down a row marked PA2065. Before me stands a child (in a university library?) directly under the circling light, a child of perhaps five or six, no more, straining to see the titles above her eye level. She glances at me and gestures toward a black volume two shelves over her head. Amused, I hand her the book, a heavy volume with a title in Latin, complete with gilded pages. The child sits down in the aisle, immediately bent over this book. I remember her clearly: a child with light hair, impossibly at ease with herself, wearing a gray-and-red dress. I step over her legs, then turn to look back. Her eyes are on me, radiant, and a light moves over her whole face and lights up the librarys cool vault. I have never seen such intelligence and love in a childs face. Searching everywhere for my thoughts, for the words that would accompany me into speech with her, I drop my piles of pages, look up to meet those eyes again. There, where she was, the spinning light of dust motes in the all-colored air moves up to the ceiling, and up through the ceiling.

I pound up the marble stairs, my feet a thunder and drumming in my ears, to the reading room aboveabout where she stoodbut nothing. Heads bent over books... A young man, chewing a pencil, looks out into the August heat and haze. I rush outside, to look for her across the courtyard. The dry hot air takes the slow hiss of sprinklers back and forth over triangles of grass, water over the golden crisscrossing walks.

I tell you, this light stays. I cant separate the light from the silenceit burnishes my skin, a memory like a photographand leaves in my ears a roar of silence, deafening. You could say, The child did not exist, or if she did, she did not vanish as you imagine. And perhaps this is so. On the other hand, some angels yearn to be recognized, but cant bear to be exposed too long in the light they themselves cast over the human world.

2

L ess than a week later, I walk down a dimly lit hallway in Glenwood, a residential and day treatment center for emotionally disturbed children just outside Chicago. This is to be my first psychotherapy session with the first child I will treat, the beginning of my one-year doctoral clinical internship. I extend my hand in a nonverbal invitation to a five-year-old, tense little boy with dark eyes and straight brown bangs. He follows me down to the playroom, without accepting my hand, without looking at me. I open the door and we enter.

Ben stands in the center of this small room, his back to me. He is a stranger to me and I no less a stranger to him. I sit down and wait for him to make the first move which will conduct this overture, our beginning.

He stands very still, alone, silentthen explodes into action. He runs once around the room, touching things deftly in his flightthe desk, the chair, the chalkboard, puppet box, toy shelves, sink. He jerks toys from the shelves, throwing them on the floor.

I want to play with this and this and this, he says, pulling down clay, a puppet, Tinkertoys and a box of train tracks. He squats down on the floor and begins to put the tracks together. Without looking at me, he speaks again: Theres gonna be a big fire. Theres gonna be a big explosion!

He switches the focus abruptly, but continues to tell me about the same thing: You and I, we go camping. I get lost in the woods. There is a big fire.

He dumps out the Tinkertoys and quickly sifts through a box of small plastic figures, pulling out six soldiers, then places them in a circle all around him. They will protect me. He wraps his arms around his bare knees and sits perfectly still. Silence wraps itself around us.

The woods are burning down, but you are safe now? I ask. These are my first words to him.

He glances at me briefly, and, as if to show me how unsafe he really is, he says, I am sick. They took me to a hospital. You are the nurse and you will give me a shot. He pulls two pillows under his head and lies down among the Tinkertoys and railroad tracks. He extends a fistful of long Tinkertoy pieces to me.

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