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Welcome back to the Lemon Tree Coaching Podcast, where inner work meets everyday life.
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I'm your host, Dr.
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Allison Sukamelli, and today we're continuing with part two of one of my favorite intersections of psychology, literature, art, and the imagination.
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We're still talking about magical realism.
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And we're at the point where magical realism begins to reveal something even more fascinating.
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But first, in my savory reader stack this week, I have my first published children's book, Hootie Little Bear from the Moon by Allison Succamelli.
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That's me, and I'm so excited to be a published children's author.
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And if you want to take a look at the book, it's available on Amazon and Kindle.
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And basically, it's a gentle story about loneliness, connection, and the quiet ways we learn that someone can be with us even when they aren't right beside us.
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And each night, Hootie, the little bear from the moon, has an important job watching over the earth and sending a little comfort to anyone who needs it.
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And that's all I'm gonna reveal for now.
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But check out my first children's book on Amazon or on Instagram at Hootie's Universe.
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I'll leave links in the bio.
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And Hootie is spelled H-O-O-T-I-E.
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Okay, let's get back into part two of the psychology of magical realism.
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And when a house breathes, when a ghost sits down at the dinner table, when flowers fall from the sky, or when a woman ascends into the heavens while folding sheets, the image does more than decorate the story.
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It reaches towards something beneath ordinary language.
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It gives shape to an experience that may be too complicated, too painful, too contradictory, or too mysterious to explain directly.
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And we can say she was grieving, or we can say that every morning she woke to find another room in her house filled with seawater.
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The first statement gives us information.
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The second gives us an experience.
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We do not simply understand that she is grieving, for a moment we enter the grief.
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We feel its rising pressure, we imagine its depth, we understand how something can quietly fill every room of a life.
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And this is one of the great psychological powers of magical realism.
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It transforms internal experience into symbolic reality.
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And to understand why symbols can affect us so deeply, we have to spend some time with one of psychology's most influential and controversial explorers of the symbolic mind, Carl Jung.
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And Jung believed that the human psyche does not communicate through logic, facts, and conscious thought.
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It also speaks through dreams, myths, fantasies, religious images, art, and symbols.
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And Jung noticed that certain patterns appeared repeatedly across cultures and historical periods.
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Stories separated by geography and time still seem to contain recognizable figures, the hero who leaves home, the wise guide, the devouring parent, the trickster, the abandoned child, the shadow, the descent into darkness, the death of an old identity, and the return with new understanding.
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And he referred to these recurring patterns as archetypes.
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And Jung proposed that archetypes arose from what he called the collective unconscious, a shared inherited layer of the psyche containing universal human patterns.
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And the collective unconscious is not something contemporary psychology can verify in the literal way Jung imagined it, and the archetypal theory should not be mistaken for settled neuroscience.
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But his work remains enormously influential in literature, art, mythology, psychotherapy, film, and our understanding of the symbolic imagination.
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And if you've been a longtime listener, you know that I reference Young a lot.
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And even if we set aside the idea that archetypes are biologically inherited, it is not difficult to understand why similar images appear across cultures.
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Every human society has faced birth, separation, danger, desire, rivalry, caregiving, aging, uncertainty, loss, death, and the need to belong.
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And we may not tell identical stories, but we repeatedly tell stories about the same fundamental human problems.
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A forest can represent what is unknown.
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A house can become an image of the self.
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A locked room can hold what has been hidden.
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A river can suggest change, time, grief, or passage.
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A shadow can represent the qualities we reject in ourselves.
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A monster can embody fear, shame, rage, hunger, prejudice, or an injury that has never been named.
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And a journey can become the story of psychological transformation.
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Magical realism gives these archetypal images permission to enter ordinary life without announcing themselves as metaphor.
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And the house does not
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merely feel haunted by the past, it is haunted.
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The family does not simply repeat a painful relational pattern.
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Generations begin carrying the same names, making the same mistakes, and living inside a time that curls back upon itself.
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And a character does not say that grief makes the world feel unreal.
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The dead return and continue participating in family life.
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And a person's loneliness does not remain an invisible emotional state.
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It may appear as an endless rain, an empty town, a disappearing body, or a trail of yellow butterflies following someone who cannot be forgotten.
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And the symbol becomes visible, and once it becomes visible, we can form a relationship with it.
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We can study it, we can question it, we can feel something toward it.
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And sometimes we can imagine it changing.
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And Young believed that psychological growth requires us to encounter aspects of ourselves that the conscious personality had ignored or rejected.
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He called this lifelong process individuation, the movement toward becoming a more integrated and whole person.
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And this does not mean becoming a perfect person.
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Or as Patrick Warburton's character, Jeff Bingham, jokingly calls on the TV show Rules of Engagement, the optimal male.
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And growth isn't about reaching some imaginary category where we finally have everything figured out, every flaw corrected, and every part of ourselves newly optimized.
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It's about becoming more fully ourselves, or in some cases, returning to our authentic selves.
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We are imperfect, yet evolving, self-aware, and increasingly willing to live in alignment with who we actually are.
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And wholeness does not require us to eliminate every frightening, inconvenient, jealous, grieving, angry, sensual, uncertain, or wounded part of ourselves.
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It asks us to become conscious of those parts so they are no longer forced to operate entirely from the shadows.
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And we've talked about this quite a bit before on this pod.
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But magical realism is beautifully suited to this kind of psychological exploration because it refuses to divide reality into tidy categories.
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And the living and the dead may share a home.
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Beauty and terror may occupy the same image.
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The sacred may appear in the kitchen.
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Trauma may live beside humor.
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The past may interrupt the present.
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That's a good one.
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And a character may be both victim and survivor, frightened and brave, ordinary and miraculous.
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Magical realism tells us that contradiction does not make an experience meaningless.
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Sometimes contradiction is the experience.
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And there's some food for thought.
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And one of Young's most familiar archetypal ideas is the shadow.
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And again, I know this is a little bit of a rerun from previous episodes, but it's important stuff and worth reviewing from time to time to keep it fresh in mind.
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And the shadow contains qualities we do not want to acknowledge as belonging to us.
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These may include impulses we consider unacceptable, but the shadow is not made only of cruelty, selfishness, or aggression.
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It may also contain our creativity, ambition, sensitivity, sexuality, courage, playfulness, or power.
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Especially if those qualities were discouraged in the environments where we learned who we were allowed to be.
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And my mind immediately jumps to a fantastic little book called Orbiting the Giant Hairball: A Corporate Guide to Surviving with Grace by Gordon McKenzie.
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And at the beginning of the book, McKenzie visits classrooms and asks students how many artists are in the room.
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And he did this grade by grade to find that the pattern of responses never varied, and the higher the grade, the fewer children raised their hands.
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And McKinsey makes the point that every school he visited was participating in the suppression of creative genius or the gift of being an artist in whatever form that comes in.
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So check out Orbiting the Giant Hairball for a deeper dive on the suppression of creativity, which is also something we can stuff down or learn to stuff down into our shadow self.
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And there are many things that we can suppress.
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Sometimes we exile what we fear, sometimes we exile what other people feared in us.
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And this is why symbolic stories often contain doubles, mirrors, monsters, secret rooms, forbidden objects, and mysterious strangers.
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They allow a character to encounter something that feels separate but may represent an unrecognized part of the self.
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The monster may carry the character's rage.
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The ghost may carry the family's unspoken grief.
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The locked room may contain a memory everyone has agreed not to mention.
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The
magical child may embody wonder that adulthood has suppressed or has been taught to suppress.
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And that's important to note.
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The woman who turns into a bird may carry the freedom she could never express while remaining in her assigned role.
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And when we read these stories, we may recognize ourselves before we can explain what we recognize.
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And that's the key.
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We may recognize ourselves before we can explain what we recognize.
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And this is why reading is so important.
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A symbol can reach us before an interpretation does.
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You may not consciously think this character represents the part of me that was silenced.
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You may simply feel your chest tighten when she opens her mouth and flowers pour out instead of words.
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You may not immediately think this endless staircase resembles my experience of trying to earn approval that never arrives.
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And you may simply know that the staircase feels familiar.
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And the image finds the emotion.
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And then perhaps language follows.
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And this brings us to narrative identity.
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Psychologist Dan McAdams has described narrative identity as the evolving internal story we create to connect the remembered past with the imagined future.
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We do not experience identity as a list of unrelated facts.
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We arrange experiences into a story about who we are, what has happened to us, what it means, and where we believe our life may be going.
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And that story is not fixed.
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It changes as we change.
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And an experience that once seemed like proof of failure may later become evidence of survival.
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And a relationship once described as destiny may later be understood as a lesson, an awakening, or a pattern we finally learned to interrupt.
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And a difference we once interpreted as deficiency may become part of a more compassionate and accurate understanding of ourselves.
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The facts may remain the same.
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The meaning can change.
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This does not mean we should force every painful event into an inspirational story.
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It does not mean trauma was secretly a gift or that suffering had to happen in order to make us stronger.
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Some events are wrong.
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Some losses remain losses.
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Some wounds do not need to be covered in glitter
and assigned a positive purpose.
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Narrative information is not the same as denial.
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It is the recognition that even when we cannot change what happened, we may still have some agency in deciding what role that event will play in the larger story of our life.
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Will it be the final chapter?
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Will it become the only explanation for who we are?
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Or will it be one chapter, perhaps an important and painful chapter, inside a story that is still unfolding?
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Research on narrative identity has examined ideas such as coherence, agency, meaning making, and what researchers sometimes call redemptive sequences.
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Stories in which something painful is followed by growth, insight, connection, or constructive change.
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The research does not suggest that there is one correct way to tell a life story.
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In fact, constant pressure to create a perfectly coherent or redemptive story can become another form of invalidation.
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And sometimes the most honest narrative is I still do not understand why this happened.
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Sometimes it is there are parts of this story I cannot remember.
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Other times it may be I survived, but I am not grateful for what hurt me.
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And sometimes it is I do not know the ending yet.
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And magical realism makes room for exactly this kind of uncertainty.
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It does not demand that every mystery be solved.
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It allows an event to be emotionally true without becoming logically explainable.
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It permits unfinished meanings, circular time, contradictory memories, and characters who carry the past in physical or supernatural forms.
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And in a conventional story, we may expect the ghost to be explained.
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In magical realism, the ghost may simply be part of the family, and psychologically, that may be closer to the truth.
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We carry people who are no longer present.
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We hear the remembered voices of parents, teachers, partners, friends, and former versions of ourselves.
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We enter a room and feel a moment from 20 years ago rise inside us.
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We inherit stories that began before we were born.
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The dead do not sit at our literal kitchen tables, but they continue to influence what is said there.
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Magical realism takes this emotional truth and makes it visible.
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This also connects to what psychology and neuroscience have taught us about memory.
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We often imagine memory as a recording stored somewhere in the brain.
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We assume that remembering means pressing play and retrieving the original event exactly as it happened.
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But memory is reconstructive.
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When we remember, the brain does not simply replay a flawless internal video.
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It rebuilds the experience using fragments of sensory information, emotion, prior knowledge, present circumstances, and the meaning we have developed since the event occurred.
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And this does not mean that our memories are meaningless or that nothing can be trusted.
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It means that remembering is an active process.
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The person remembering is never exactly the same person who lived the event.
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Our present self meets our past self each time the memory returns.
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And emotion plays an especially powerful role in autobiographical memory.
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Highly emotional events may feel exceptionally vivid, but vividness is not the same as perfect accuracy.
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We may clearly remember the light in the room, the sound of a voice, or the feeling in our body, while other details remain fragmented or uncertain.
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And trauma can complicate this further.
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A person may remember sensory pieces without having a smooth verbal narrative.
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There may be an image, a smell, a physical reaction, or a sudden feeling of danger without an orderly sequence of beginning, middle, and end.
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And this is one reason literal language sometimes feels insufficient.
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How do you explain a memory that returns first as pressure in the chest?
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How do you describe a childhood home that was physically ordinary but emotionally enormous?
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How do you convey the way one moment seems frozen in time while the rest of life continues around it?
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Perhaps you write about a clock that stopped the day someone left.
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Perhaps the childhood home grows another hallway every time the character tries to remember what happened.
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Maybe an entire town forgets a woman's name while the woman begins finding it written in the stars.
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These images are not factual reports, but they may express something psychologically precise.
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And because memory is reconstructed, revisiting an experience in a safe, supported context may allow new information and new meaning to become connected with it.
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And this is sometimes discussed in relation to
memory reconsolidation, the process through which a retrieved memory can become open to updating before being stored again.
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And we should be careful here.
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A symbolic story does not magically erase trauma, and reading a novel is not the same as receiving trauma-informed clinical treatment.
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But stories can create new emotional context around old experiences.
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And they can give us a witness.
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They can offer language we did not have.
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They can show us a character surviving something we thought could not be survived.
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They can help us imagine a different response, a different interpretation, or a future beyond the moment where our own story seemed to stop.
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And the brain does not treat stories as meaningless collections of sentences.
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When we become absorbed in a narrative, multiple systems participate.
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We process language, of course, but we also draw on networks involved in memory, emotion, sensory imagery, and social understanding, and our ability to infer what another person may be thinking or feeling.
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And researchers sometimes describe deep absorption in a story as narrative transportation.
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We temporarily enter the world of the narrative.
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Our attention narrows.
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We simulate places, actions, emotions, intentions, and relationships.
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Neuroscience research suggests that reading about an action, sensation, or emotion can recruit some of the systems involved in representing those experiences.
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This does not mean that reading about running is neurologically identical to running, or that imagining pain is the same as being physically injured.
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But the brain uses prior experience to simulate aspects of what a story describes.
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And when a character reaches toward a locked door, we anticipate what might be behind it.
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And when someone walks alone through a dark forest, we create the forest from pieces of forest we have seen, imagined, feared, or dreamed.
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And when a mother in a story fails to recognize her own child, we do not process that only as a fact.
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We simulate the emotional implications.
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And we wonder what the child feels.
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We imagine what the mother has lost.
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We search our own memories for experiences of being forgotten, misrecognized, or unseen.
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And research on fiction and social cognition has explored whether reading stories
may support our ability to understand other minds.
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And some studies have found associations between fiction reading and social cognitive abilities, although the size and consistency of these effects continue to be debated.
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And stories are not guaranteed empathy machines.
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People can read widely and still behave without compassion.
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But narrative offers something facts often cannot offer by themselves, sustained access to another point of view.
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A fact may tell us that a person is lonely.
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A story can place us inside the room after everyone else has left.
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A statistic may tell us how many people have been displaced.
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A story can show us one woman packing a single suitcase and deciding which family photograph she cannot bear to leave behind.
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We need facts.
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Facts help us understand scale, test claims, shape policies, and remain accountable to reality.
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But facts and stories perform different psychological work.
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Facts tell us what happened.
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Stories help us imagine what it felt like.
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And symbolic stories can go one step further.
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They allow us to experience realities that cannot be fully represented through literal description.
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A grief that lasts for years can become a winter that refuses to end.
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Generational trauma can become a house where each generation discovers the same crack spreading across the ceiling.
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Emotional neglect can become a child who slowly turns transparent because no one looks directly at her.
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Hope can become a stubborn green vine growing through the floorboards of an abandoned building.
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The impossible image gives the mind somewhere to place an experience that otherwise has no clear boundary.
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And neuroscientist Daniel Schechter and other researchers have examined the relationship between remembering the past and imagining the future.
00:25:42.559 --> 00:25:57.359
These processes draw upon overlapping brain systems, and the same mind that reconstructs pieces of prior experience can recombine those pieces to simulate possibilities that have not yet happened.
00:25:57.759 --> 00:26:01.599
Imagination is not the opposite of memory.
00:26:01.920 --> 00:26:06.480
In many ways, imagination is built from memory.
00:26:06.799 --> 00:26:10.720
We take known pieces and arrange them into new forms.
00:26:11.039 --> 00:26:13.680
The staircase came from somewhere.
00:26:13.920 --> 00:26:16.559
The clouds came from somewhere.
00:26:16.799 --> 00:26:20.319
The feeling of climbing came from somewhere.
00:26:20.640 --> 00:26:31.599
But imagination can place the staircase in the sky, make the clouds purple, and allow the character to climb toward a home she has never seen.
00:26:31.839 --> 00:26:41.519
And this ability is sometimes called episodic future thinking or the capacity to project oneself into a possible future event.
00:26:41.839 --> 00:26:47.279
It allows us to rehearse, anticipate, plan, hope, and prepare.
00:26:47.519 --> 00:26:50.799
And of course, the same ability can fuel anxiety.
00:26:51.039 --> 00:26:59.759
We can imagine rejection, disaster, humiliation, abandonment, and loss with extraordinary detail.
00:27:00.240 --> 00:27:07.279
The mind can build an entire painful future from a single unanswered message.
00:27:07.680 --> 00:27:11.759
But imagination is also the birthplace of possibility.
00:27:12.319 --> 00:27:16.720
Before we make a change, we often have to imagine that change.
00:27:17.200 --> 00:27:19.839
Before we leave, we imagine a door.
00:27:20.079 --> 00:27:24.319
Before we begin again, we imagine a life beyond the ending.
00:27:24.559 --> 00:27:27.759
Before we speak, we imagine having a voice.
00:27:28.079 --> 00:27:34.640
Magical realism expands the range of what the imagination is permitted to consider.
00:27:35.440 --> 00:27:45.039
It loosens the rules of ordinary reality long enough for us to see emotional and psychological possibilities from a new angle?
00:27:45.440 --> 00:27:51.119
And what if the road home grew only when you walked away from the life that was hurting you?
00:27:51.440 --> 00:27:56.240
What if every boundary you set caused another star to appear in the sky?
00:27:56.559 --> 00:28:05.279
What if the part of you that disappeared years ago had been living quietly inside a painting, waiting for you to return?
00:28:05.759 --> 00:28:14.720
We know these things are not literally happening, but the mind can use the image as a rehearsal for something that might.
00:28:15.119 --> 00:28:18.400
And this brings us to expressive arts therapy.
00:28:18.640 --> 00:28:28.559
Expressive arts therapy approaches may involve visual art, movement, music, poetry, storytelling, drama, imagery, or combinations of different creative forms.
00:28:28.799 --> 00:28:36.559
In a clinical setting, these practices are guided by trained professionals and adapted to the needs and safety of the individual.
00:28:36.720 --> 00:28:52.559
And the goal is not necessarily to produce beautiful art, the goal may be exploration, expression, regulation, communication, meaning making, or the creation of psychological distance from an overwhelming experience.
00:28:52.960 --> 00:28:57.519
And sometimes talking directly about an experience is difficult.
00:28:58.079 --> 00:29:06.480
Language may feel too exposed, too limited, or too organized for what the person actually feels.
00:29:07.200 --> 00:29:09.920
But perhaps the person can draw the feeling.
00:29:10.079 --> 00:29:12.319
Perhaps they can choose a color for it.
00:29:12.559 --> 00:29:17.519
Perhaps they can write a conversation between themselves and the locked door.
00:29:17.839 --> 00:29:24.640
Or maybe they can create a mask showing what others see on the outside and what remains hidden underneath.
00:29:24.880 --> 00:29:33.119
Maybe they can imagine placing fear inside an object, giving that object a name, and deciding where it belongs in the picture.
00:29:33.359 --> 00:29:45.119
And research on art therapy and creative arts therapies has produced promising findings in areas such as trauma symptoms, anxiety, depression, stress, and quality of life.
00:29:45.359 --> 00:29:52.960
At the same time, the evidence base varies by population, method, and study quality.
00:29:53.440 --> 00:29:57.920
Expressive art should not be presented as a universal cure.
00:29:58.160 --> 00:30:03.200
The creative work can sometimes bring difficult material to the surface.
00:30:03.440 --> 00:30:10.480
And that is why clinical support and attention to safety matter, particularly when trauma is involved.
00:30:10.720 --> 00:30:16.400
Still, the underlying idea is deeply relevant to magical realism.
00:30:16.960 --> 00:30:20.880
Not everything inside of us arrives first as a sentence.
00:30:21.279 --> 00:30:36.160
Some things arrive as images, some arrive as rhythms, some arrive as characters, some arrive as a color we cannot stop using, some arrive as a house we keep drawing, even though we no longer live there.
00:30:36.480 --> 00:30:41.839
And creative expression allows us to externalize an internal experience.
00:30:42.400 --> 00:30:54.000
And once the experience exists outside us in a poem, painting, movement, story, or symbol, we may be able to look at it from a different distance.
00:30:54.880 --> 00:31:03.200
We can say, this is something I made, this is something I feel, this is something that happened to me.
00:31:03.599 --> 00:31:11.119
But perhaps eventually we can also say this is not the entirety of who I am.
00:31:11.759 --> 00:31:29.039
The monster is on the page, the storm is in the painting, the grief has a chair, the memory has a doorway, and the self is now in relationship with the image rather than completely engulfed by it.
00:31:29.279 --> 00:31:32.799
And symbols also provide psychological distance.
00:31:33.200 --> 00:31:39.519
If I ask someone to describe their fear directly, the question may feel overwhelming.
00:31:39.839 --> 00:31:45.279
But if I ask if your fear were a room, what would the room look like?
00:31:45.599 --> 00:31:47.359
Something may shift.
00:31:47.680 --> 00:31:48.960
Is the room dark?
00:31:49.200 --> 00:31:50.400
Is it crowded?
00:31:50.640 --> 00:31:52.000
Are there windows?
00:31:52.240 --> 00:31:56.319
Is the door locked from the inside or the outside?
00:31:56.640 --> 00:31:58.640
Is anyone else there?
00:31:59.279 --> 00:32:01.920
What would make the room feel safer?
00:32:02.319 --> 00:32:07.519
The
metaphor allows the person to approach the experience indirectly.
00:32:07.920 --> 00:32:13.359
The fear is still present, but it is no longer formless.
00:32:14.079 --> 00:32:17.759
And then imagination introduces movement.
00:32:18.319 --> 00:32:20.079
Could we turn on a lamp?
00:32:20.319 --> 00:32:22.319
Could we open one window?
00:32:22.559 --> 00:32:25.440
Could we place a chair near the door?
00:32:26.000 --> 00:32:32.160
Could an older version of you enter the room and sit beside the frightened version?
00:32:32.880 --> 00:32:36.400
This is not about pretending that a lamp solves fear.
00:32:36.640 --> 00:32:45.839
It is about discovering how the psyche represents fear and what the psyche imagines safety might look like.
00:32:46.559 --> 00:32:50.640
Magical realism does this on a larger narrative scale.
00:32:50.880 --> 00:32:55.279
It creates worlds where emotional laws become physical laws.
00:32:55.599 --> 00:32:59.119
A person who has been ignored may literally fade.
00:32:59.359 --> 00:33:04.480
A secret may become so heavy that the house begins sinking.
00:33:05.039 --> 00:33:08.799
Unspoken words may gather as birds along the roof.
00:33:09.039 --> 00:33:15.119
A family may be followed for generations by a storm no one is willing to name.
00:33:15.359 --> 00:33:24.319
And when the symbol changes, we feel the possibility that the psychological story might change too.
00:33:24.799 --> 00:33:29.440
And someone finally speaks and the birds lift from the roof.
00:33:29.680 --> 00:33:33.599
The truth is acknowledged and the house stops sinking.
00:33:33.839 --> 00:33:38.000
The invisible woman is seen and color returns to her hands.
00:33:38.240 --> 00:33:44.559
The winter does not vanish at once, but one flower appears through the snow.
00:33:44.880 --> 00:33:49.359
Facts alone rarely give us that experience of transformation.
00:33:50.079 --> 00:33:52.799
A fact can correct a belief.
00:33:53.279 --> 00:33:56.720
A symbol can reorganize a world.
00:33:57.200 --> 00:34:01.279
And there is another reason symbolic stories can change us.
00:34:01.519 --> 00:34:03.920
They invite participation.
00:34:04.480 --> 00:34:08.559
A direct statement often tells us what to think.
00:34:09.119 --> 00:34:12.239
A symbol asks us what it means.
00:34:12.559 --> 00:34:17.039
A white bird may mean freedom to one reader and loss to another.
00:34:17.280 --> 00:34:22.400
A river may represent rebirth, danger, time, cleansing, exile, or return.
00:34:22.719 --> 00:34:29.280
The meaning arises partly from the story and partly from the life the reader brings to it.
00:34:29.599 --> 00:34:35.039
And that is why this same book can meet us differently at different ages.
00:34:35.519 --> 00:34:38.880
At 20, we identify with the character who leaves.
00:34:39.119 --> 00:34:42.559
At 40, we understand the person who stayed.
00:34:42.800 --> 00:34:48.400
At 50, we notice the silence of someone we barely saw the first time.
00:34:49.119 --> 00:34:52.480
The words on the page have not changed.
00:34:52.800 --> 00:34:53.440
We have.
00:34:54.079 --> 00:34:58.480
And because we have changed, the symbol opens another door.
00:34:59.039 --> 00:35:03.519
Stories become mirrors, but they are unusual mirrors.
00:35:03.760 --> 00:35:06.400
They do not always reflect our faces.
00:35:06.639 --> 00:35:12.079
Sometimes they reflect the parts of us that have not yet reached language.
00:35:12.320 --> 00:35:20.880
And this is also why it is important to resist the temptation to reduce every symbol to one fixed interpretation.
00:35:21.519 --> 00:35:24.400
A snake does not always mean betrayal.
00:35:24.639 --> 00:35:27.119
Water does not always mean emotion.
00:35:27.360 --> 00:35:30.239
A house does not always represent the self.
00:35:30.480 --> 00:35:38.159
Symbols are shaped by culture, personal history, context, and the story surrounding them.
00:35:38.559 --> 00:35:44.400
An image that feels comforting to one person may feel frightening to another.
00:35:44.719 --> 00:35:50.480
And good symbolic interpretation is curious rather than authoritarian.
00:35:50.960 --> 00:35:55.519
Instead of asking, what does this symbol officially mean?
00:35:55.840 --> 00:36:01.519
We might ask, what happens inside me when this image appears?
00:36:02.000 --> 00:36:05.440
What memories or feelings does it stir?
00:36:05.840 --> 00:36:10.079
What does it seem to carry in this particular story?
00:36:10.559 --> 00:36:14.000
What changes when the symbol changes?
00:36:14.559 --> 00:36:20.400
What might this image allow the character or the reader to acknowledge?
00:36:20.719 --> 00:36:24.639
And the purpose is not to solve the symbol like a code.
00:36:24.880 --> 00:36:28.880
The purpose is to enter into conversation with it.
00:36:29.119 --> 00:36:36.320
And let me be clear, honoring symbolic truth does not require abandoning factual truth.
00:36:36.639 --> 00:36:46.719
We need evidence, we need history, we need accurate language, we need the ability to distinguish imagination from external reality.
00:36:47.039 --> 00:36:56.079
And we need facts when people are harmed, when decisions affect lives, and when power attempts to disguise itself through a comforting story.
00:36:56.400 --> 00:36:59.840
But human beings do not live by facts alone.
00:37:00.079 --> 00:37:06.320
A medical diagnosis is a fact, the meaning of receiving it becomes a story.
00:37:06.639 --> 00:37:09.440
A relationship ending is a fact.
00:37:09.679 --> 00:37:14.320
The way the ending rearranges identity becomes a story.
00:37:14.719 --> 00:37:17.519
A person dies, that is a fact.
00:37:17.760 --> 00:37:24.000
The way their presence continues inside the lives of those who love them becomes a story.
00:37:24.320 --> 00:37:30.480
We are not only information processing creatures, we are meaning-making creatures.
00:37:30.719 --> 00:37:36.639
We want to know not only what happened, we also want to know why did it matter?
00:37:36.960 --> 00:37:38.400
What did it
change?
00:37:38.639 --> 00:37:40.000
Who was I before?
00:37:40.239 --> 00:37:41.440
Who am I now?
00:37:41.679 --> 00:37:43.440
What do I carry forward?
00:37:43.679 --> 00:37:45.199
What can I release?
00:37:45.440 --> 00:37:48.719
And what kind of ending might still be possible.
00:37:49.199 --> 00:37:53.840
Facts can tell us that the storm lasted seven days.
00:37:54.159 --> 00:38:00.159
A story tells us what the family said to one another while the water rose.
00:38:00.480 --> 00:38:07.760
A symbolic story tells us why the rain continued inside the house long after the sky became clear.
00:38:08.159 --> 00:38:12.239
That inner rain may be the detail we remember.
00:38:12.880 --> 00:38:17.840
It may be the image that allows us to recognize our own delayed grief.
00:38:18.079 --> 00:38:27.280
It may help us understand why everyone else seemed to move on while some part of us was still standing in the storm.
00:38:27.840 --> 00:38:33.119
And before we close, I want to invite you into a gentle, imaginative exercise.
00:38:33.440 --> 00:38:37.840
You do not have to force an answer, simply notice what appears.
00:38:38.159 --> 00:38:44.719
If your current life were a magical realist story, what unusual thing would be happening?
00:38:45.039 --> 00:38:48.960
Would flowers grow from the places where you finally learn to say no?
00:38:49.599 --> 00:38:54.159
Would the clock stop whenever you abandoned your own needs?
00:38:54.719 --> 00:38:59.280
Would an unopened letter follow you from room to room?
00:38:59.760 --> 00:39:05.360
Would your exhaustion appear as a small animal asking to be carried?
00:39:05.679 --> 00:39:13.119
Would the road divide into two paths every time you tried to choose what someone else wanted?
00:39:13.440 --> 00:39:22.719
Would your hope be hidden somewhere unexpected, inside an old coat pocket, beneath the floorboards, or in a garden you thought had died?
00:39:23.039 --> 00:39:27.360
And then ask, what might this image be trying to show me?
00:39:28.079 --> 00:39:29.519
What does it need?
00:39:30.159 --> 00:39:32.719
What changes if I listen?
00:39:33.360 --> 00:39:38.800
You do not have to interpret it perfectly, just become curious.
00:39:39.360 --> 00:39:42.960
And perhaps the image is not a puzzle demanding an answer.
00:39:43.199 --> 00:39:45.039
Perhaps it's a doorway.
00:39:45.840 --> 00:39:52.159
So magical realism reminds us that the imagination is not merely an escape from reality.
00:39:52.639 --> 00:39:56.719
Sometimes it is how we enter reality more deeply.
00:39:56.960 --> 00:40:10.800
It allows grief to become weather, memory to become architecture, desire to become flight, silence to become stone, and hope to bloom in places where logic insists nothing should grow.
00:40:11.119 --> 00:40:17.199
Young gave us a language for archetypes, shadows, symbols, and the human longing for wholeness.
00:40:17.599 --> 00:40:26.960
Narrative identity research reminds us that we construct evolving stories to connect who we were, who we are, and who we may become.
00:40:27.280 --> 00:40:41.920
Neuroscience shows us that memory and imagination are deeply connected, and that stories engage systems involved in emotion, simulation, social understanding, and the creation of meaning.
00:40:42.239 --> 00:40:53.599
Expressive arts approaches show us that what cannot yet be spoken may sometimes be drawn, moved, imagined, painted, or placed inside a story.
00:40:53.920 --> 00:40:57.360
And magical realism gathers all of this together.
00:40:57.679 --> 00:41:02.480
It tells us that reality is more than what can be measured from the outside.
00:41:02.800 --> 00:41:17.840
There is also the reality of longing, the reality of memory, the reality of inherited silence, the reality of a body that remembers, the reality of a future we cannot prove but are beginning to imagine.
00:41:18.159 --> 00:41:22.480
And sometimes a fact enters the mind and becomes knowledge.
00:41:22.719 --> 00:41:27.920
A symbol enters the imagination and becomes a relationship.
00:41:28.239 --> 00:41:33.840
A story enters the heart and quietly begins rearranging the furniture.
00:41:34.239 --> 00:41:38.559
Perhaps that is why certain books stay with us for years.
00:41:39.199 --> 00:41:46.800
We may forget entire sections of the plot, but we remember the woman rising into the sky.
00:41:47.039 --> 00:41:49.440
We remember the yellow butterflies.
00:41:49.599 --> 00:41:52.000
We remember the house filled with ghosts.
00:41:52.239 --> 00:41:57.119
We remember the child who discovers another world behind an ordinary door.
00:41:57.760 --> 00:42:03.440
The symbol remains because some part of us continues living inside it.
00:42:03.679 --> 00:42:10.000
And perhaps somewhere in that impossible image, we recognize something true.
00:42:10.239 --> 00:42:15.280
Not factually true, not literally true, humanly true.
00:42:15.840 --> 00:42:18.000
Okay, so there you have it.
00:42:18.480 --> 00:42:28.400
If this episode spoke to you, consider sharing it with someone who sees the world not only as it is, but as it feels and as it might still become.
00:42:28.639 --> 00:42:38.719
And as always, this podcast is intended for educational and informational purposes only and is not a substitute for therapy diagnosis or individualized mental health care.
00:42:38.880 --> 00:42:47.360
If today's conversation brought up difficult emotions, please give yourself permission to pause, ground yourself, and reach out for support.
00:42:47.599 --> 00:42:57.280
If you are in the United States and experiencing a mental health crisis or thoughts of suicide, call or text 988 to reach the suicide and crisis lifeline.
00:42:57.440 --> 00:43:00.400
And if you are in immediate danger, call 911.
00:43:00.800 --> 00:43:07.760
If you live outside the United States, please contact the crisis or emergency resources available in your area.
00:43:08.000 --> 00:43:09.599
And until next time, this is Dr.
00:43:09.679 --> 00:43:10.960
Allison Sukamelli.
00:43:11.440 --> 00:43:20.800
Stay curious about the images that follow you, the stories that call to you, and the quiet symbols through which your inner world may be trying to speak.
00:43:21.039 --> 00:43:24.079
Take care and I'll see you next week.