It’s the lead up to a TESOL test

A quiz, a trial that needs my best

But all I’ve got is mild distress.

The time invested studying

Has only worked at muddying

This addled brain of mine.

My skin in the game isn’t Wall Street inflated

It’s more like a ball of potential deflated.

So now when my rubber

is hitting the road,

Assessment is stymied

by mind-bending loads.

I’d decided to write upon my sleeve

when lo –there came a day’s reprieve.

so….

As English is stress-timed

and meaning is made

with focus on key words

once rhythm is laid.

A rhyming verse

Would do me well

To practice my phonemes

And suprasegme’ls.

Alas this mess of homophones

Is surely not a verse

But crafting it ‘tween test times

Has hardly made it worse!

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He is a psychologist and a spiritual advisor who coached me over eight sessions to uncover skills I already had and remember the ones that I would need on this next path.

I am changing paths. The old methods of navigating don’t work as well as they used to.  I felt frustrated with efforts to simply plug into a job description, defined by someone else. I’d outgrown the seek.com approach to happiness. It felt like a betrayal to a stronger signal, but that signal was unclear.

My approach to career and life management and its links to self-concept and self-efficacy have been heavily influenced by my late husband,  a psychologist  who specialised in the area.

I have a favourite book, “Dibs in Search of Self” by Virginia Axline. Miss A as Dibbs called his play therapist, is my ideal life coach. My expectations of a psychologist were akin to Dibbs’ – I expect clarity, empathy, intelligence, generosity, kindness, interest and respect.

“Dr A” had all of that – and gave me significant insights into my own process.

In the 1st session I learnt about metaphors. I love to talk, and A had an uncanny ability to listen, pace, raise the pitch and punctuate the conversation – not with a summary of what was said as much as an echo of intent – thereby keeping me dogged on message. He continually clarified the conversation so that I was able to drop ever deeper into the intuitive insightful part of my brain. This is psychology at its best.

In the 2nd session I learnt about the space between making decisions. When the first decision is made, and the 2nd not yet formed, there is often a no-space of waiting. That’s life.

In the 3rd session I learnt about gentleness – to myself and how change happens. I learnt about defiance.

In the 4th session I learnt about father – my own and my reproduced father roles that keep appearing. Joseph Campbell believes the search for father is the search for character and destiny – too true.

In the 5th session I learnt about vantage points. Why use language as if I was just beginning my life, when in fact I was half-way through a splendid well-lived life. It was a lesson in humility and humour.

In the 6th session I learnt about intuition towards wholeness and where play and joy comes in; I learnt I had to trust myself more and I learnt about prayer.

In the 7th session I learnt that anxiety had served me well to protect my heart and that it was ungrateful to judge it harshly now. I just need to adjust the hold it has on me.

In the last and 8th session – I learnt to view my own reflective drama and dance, and acknowledge my ability to engage and reflect the humanity of others again and again.

What a splendid teacher I had – thank you “Doctor A”, Have a great year next year and enjoy your own blessed pilgrimage.

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I don’t mean the often discussed “work-life balance”. I mean the situation when the behaviours that are appropriate in the personal sphere are mindlessly and expectantly transported into the work arena where they just don’t fit.

We make friends at work because we spend the greatest amount of time there, but we often can’t maintain friendships through a work environment because of different “agendas” and motivations.

We also can’t expect to have friends with people at work unless the organisational status is in the same stratosphere. Someone gets ahead in the company because they are more skilled, more ambitious or perhaps because they knew how to source the support they needed.

Likewise that support team, often sourced from their “friends” complied with their choices for progress – many times because the supporter got to “piggy-back” on that relationship. This translates to a favour here and there – a chance for promotion or an opportunity that may or may not have been given to another. For the supporter – it’s an investment strategy, for the progressive one – it’s payment- in-kind.

The thing we can’t maintain, however, in this finely tuned exchange of energy, is the illusion of friendship. Personal comments and opinions are affected, the level of consistency and care varies, the quid-pro-quo invariably gets short of quo.

All of a sudden there’s an “ask” but no “reply”. There’s a “demand” but no “supply”, the relationship has changed. And someone feels hurt. It’s at this point that it gets messy.

Because we don’t grow at the same rate, and we don’t want the same things, the demander gets out of cycle with the supplier. He or she still moves on their projectile to their goal. The problem is, the supplier has changed their destination and they’re not on the same route. Because their job isn’t as all-consuming or singular, they’ve diversified. They’ve got more time for personal activities and pursuits and they’re not available, on-tap to supply the demander anymore.

This might come in the form of an overt disagreement or objection, or a failure to support the new direction. When they are now held to account for their objectionable response – the supplier is resentful, “If you didn’t want the answer, they intone, why did you ask the question?”

On the other hand, the demander who has often fed off the supplier for ideas, for support, for motivation, for encouragement is now also resentful. Instead of sourcing that support internally from a base of self-efficacy – they out-sourced it – making a quicker, more economical perhaps less mind-ful choice. But when that source dries up, the demander is at a loss, and resorts to the time-worn script and illusion of “friendship”. And things get “personal”.

“Personal” for a demander, however, comes with all the organisational sway at their command. Opportunities, requests, outcomes – the ball has always been in their court because they call the organisational shots. So what’s the answer?

Grow up.

We only have control over our choices and our relationships. We need to be clear on every choice we make and every relationship we invest in. If our investment strategy changes – we should be clear on that. And if we don’t seek favours or opportunities unless we’ve rightfully earned them, then we can rest easy.

We choose, for ourselves, what we want to personally achieve. At some stage, every supplier and every demander will get a wake-up call. Perhaps they’ve not been  mind-ful  Perhaps mistaking organisational behaviour for personal friendship they’ve misinterpreted relationships and been hurt or frustrated that the old modus operandi doesn’t fit. Perhaps a new player in the relationship has tilted the balance.

If we’re grown-ups we will behave in each sphere with appropriate behaviour with no need for manipulation or guilt or carrot and stick, or disguised favours. And then, perhaps we can all be honest with ourselves. And if we are honest there’ll be no need for tedious, predictable office politics that permeates every level of every organisation like some B grade Hollywood series.

If we can be honest – and support each other in a proper and equal way – each to their own, for their own, on their own – we might all get to grow up through our working life – as we expect to do in our personal one.

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Right now I’m wrestling with 2 paintings. Both are based on photos I took on a recent trip. The wrestle is with the process and I guess the outcome.

My problem is that I don’t want the work to be a replica of something I saw, yet I do want it to replicate what I saw – if that makes sense. The images that are pre-occupying me are steps that lead into the water. In both, the water seems so mysterious: one is slightly more bouyant or playful and the other receding with the tide – revealing the rich variegated stone patterns beneath.

I work with the forms yet all the time resisting them. I want to shape and push the forms, to stretch them so they don’t resemble the starting point, and then reconfigure them to make sense of the whole picture. This means continually massaging how they relate to each other on the canvas. I enjoy the colours, the balance, the solidity and fragility of some elements – and have immense fun with the texture of the paint itself. Yet I wrestle with the fact that it should look more like life, more like the original picture, more like reality.

People who see my work – describe it as impressionistic.  Is that because I can’t reproduce forms realistically? The reason they say this is because each painting has a feeling of transience and movement.  I also think they are impressionistic because I use the knife more often than I do the brush.

Another pecadillo, if you like is a lack of planning. I prefer the painting to emerge as I go along. I like to be suprised at what the painting process delivers – almost magically. It may not resemble the starting point much at all, but it comes to a point when the work is finished and I’m happy to let it go as an impression of the starting point.

Nearly every time I look at my work I feel good about it and about myself. Which is a world away from what I was like when I was a teenager or young adult. In fact, I would recommend painting for all depressives and those working on the renovated self. It’s a great way to fall in love with life and with your participation in it.

I knew a woman once, whom I thought was quite a gifted painter. I couldn’t understand why she judged her work so harshly, refusing to pick up the brush for many years after a “bad” experience (ie a painting she didn’t like). I’m not saying don’t strive for perfection, but really - the world is full of critics enough, why would we add another one to the equation?

Yes, I love the process and I do like the workat each iteration. I like its boldness, the “painterly” (as a teacher once described it) style, which I think just means the fact that I’m not afraid of using a variety of and large amount of paint.  In fact I relish in it. Bloke used to find the “mark of bubba” everywhere around our house. A smear of paint on the light switch, on the fridge, on the phone and of course on every wall along my path.

He would be frightened of the work. Not because of the mess, but rather frightened for me I think. He’d notice when the perspective was wrong, or the composition didn’t resemble reality. He thought I’d be disappointed at the end. Of course he was projecting, and when I asked him why he didn’t paint, given that he was an excellent draftsman, he told me that he was too scared. He would spend so much time planning what to paint, that he would become too intimidated to begin – in case it didn’t work out.

I guess I get scared too. Scared that it will end up looking like crap. But I push on through that, it happens about a third of the way through the painting’s life cycle. And I remind myself that crap is all relative. One person’s crap is in fact another person’s delight. Last week I dreamt someone commented on my painting to the effect that “It looks like shit”. “Exactly what part of it and what sort of shit?” I asked in the dream. At the time, I put it down to a heavy night on the turps (booze that is)  because the painting resembled a truncated intenstine, and I did feel like shit the morning after.

So I’m writing this while my two (yet to be finished) paintings dry. I’m writing it to remind myself that the process is incredibly rewarding – with fresh discoveries all the time. And I’m writing it to remind myself that the process itself is a way of wrestling with my own way of seeing the world - ”In real life” or in my head. The view in my head is like “real life” but is mixed up with all the excitement of other inflluences.

Farewelling my sister on this morning’s flight to Hong Kong, and then onto Budapest; cleaning the house and washing the linen in preparation for interstate friends; getting ready for dinner with a close friend and her guests tonight, and remembering how sublime the Merchant Ivory production of “Howard’s End” was last night.

Yes, all of that has an effect on whether I see the water as emerald or mauve, and whether I paint the stones with a dab or a dash and just how much paint - that I’ve just plied on  do I now scrape off – in order to give a sense of well trodden steps.

Magical.

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Just as a picture records seminal moments like these, those same moments highlight the essence of who we are.

I believe those moments of death, birth and marriage highlight a hunger for certainty and meaning.  We make meaning of things with the head and the heart, and for want of a better word, with the spirit.

How much of our spiritual skills are handed down and how much do we acquire? Can we acquire any after a certain age? And do seminal moments up the ante at all?

My own seminal moments include:

• The death of my mother when I was four years old
• The death of my father when I was 30 years old
• My marriage when I was 37
• The death of my husband when I was 48 years old
• The death of my stepmother when I was 48 years old

The primary death of my mother was the defining one.  As one of four siblings we each had a different way of responding to that event. These responses set in motion an entire approach to the way we live our lives.  And this approach is well explained by a particular spiritual system.

The Enneagram has gone the farthest to explaining what these responses were. All of the family is into the Enneagram. So much so, that we’ll describe the behaviour of a family member as a typical 6 or that’s a 3 for you!

The Enneagram is based in a Sufi practice and is a dynamic program to define the spiritual self in relation to others and the world. The system went through a number of iterations to become what it is today.

The system is good for our family for a number of reasons: it is dynamic and inter-related. In other words, we are who we are, in relation to ourselves, to others and to the world. And the best part is that each type is in the process of change and growth. It perfects itself in movement towards or away from other types. 

There are nine types. And each type is defined by a reaction to an impulse (in our case this was pain and fear). No type is any better than another. There are ways to find out what your type is, but I always believe that when you find out your type, you are invariably embarrassed and or humbled by the insight.

We four sit together. We have a 5, two 6s and a 7. Each one of us reacted to the pain of losing our mother in a slightly different – though connected – way. One retreated to the head (5) to find an intellectual explanation; two joined a bigger system (6) to offset the anxiety and belong somewhere and the last one chose the path of sensation to feel alive and to avoid pain (7).

I wanted to write a book with my sisters. Gab was to write the path of epicurean delight – food and pleasure; Cate was to write a dissertation on sense-making and intellectual control and I was to write the third path on myth making and imagination. In the middle of the story, a fairy tale would link and explain the three types. We got so far but no farther.  As it matters more to me, I will pick it up again one day.

The dynamic process of the Enneagram means that as a 6 I have the potential to move towards a number 9. I am not changing types but, if I continue to grow, I can develop a new set of spiritual skills, represented by the number 9.

When I am at my best as a 6, I am self-affirming, trusting of self and others, independent yet symbiotically interdependent and cooperative as an equal. A belief in self leads to true courage, positive thinking, leadership, and rich self-expression.

Number 9, at their best are self-possessed, feel autonomous and fulfilled: have great equanimity and contentment because they are present to themselves. They are intensely alive and fully connected to self and others.

One of my nieces is a 9 so I can learn from her what it feels like to live like a 9. Another one of my nieces is like me, a 6. So if I can live well and fully, I might assist her in understanding herself a bit better.

We are attracted to other types and can understand them. I have a penchant for 5s (given that my twin sister and husband were both 5s). I certainly understand them and I lean on them to make sense of the world inside my head. I also ‘get’ 7s and lean on them when I nudge the bottle or cook up a feast to comfort myself.

So way back when I was 4 years old and the worst thing in the world that could happen did happen; I assumed the mantle of the fearful loyalist. To face whatever it was I had to face, front-on; counter-phobic and confrontational. Confined by and in this awful situation, I was wrapped in a straight-jacket of anxiety. My twin sister, also 4 years old followed another path – one of the eremitic Investigator; equally valid, but different to mine.

Neither of us could tell where the paths would lead. But they were set in motion by this momentous event, and they would diverge many times in the years that followed.

A picture does indeed tells of a thousand worlds still to be lived.  

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For me it was bumping out out a show, often at 3 a.m, doubtless tired and pissed, but so happy – in the smells, the dust,  the wonder and the satisfaction.

When I was starting school, my stage, cast and lead character was Mighty Mouse  a cartoon character from the sixties (who years later was disbarred from Comic Valhalla due to a perceived opium addiction!) Mighty Mouse was everything to me, my scene, my rising star, my metaphor and script for surviving the school yard. He was my Raison d’être.

He may have been small, but he was power-packed. “Here I come to save the day, that means that Mighty Mouse is on the way.”At that time in my life I was hanging out for a miracle and a saviour. And in the process, that wonderful alchemistical theatrical process, I rescued my self.

Notwithstanding the blatant fantasy fixation, the game provided me a rich vein of coping strategies. It  gave me the ‘pretend until it feels better’ mentality and the  ’practice until you get it right’ strategy. Both of which I’ve maintained to this day.  All through high school and through my working life I’ve cast the play, the characters, the scenery and style. So as to make my world interesting enough for me to be a part of.  If I found things boring I changed it. If the the colour was drab I’d enliven it. Sort of Steven Covey meets Colour by numbers.

• “Adventures in Paradise” became 2 years teaching in PNG.
• “The Little Princess” became 2 years in Government House
• “The Sound of Music” turned into the Australian Opera
• “Hawaii Five-O” translated into 5 fabulous years working in Television and
• “Disneyland”  morphed into the Public Service with its rich seam of fantasy.

But here’s something for nothing – the technique is exhausting. So I’m bumping out the show. No not suicide – just changing roles. A mid-life trauma has forced me to reconvene my cast of creative thousands into a new show altogether. But how?

In a recent documentary on the making of the Australian Hedda Gabler, the fabulous Cate Blanchett commented on the exchange between actor and audience. She ruminated that each production is forged in the exchange between actor and audience and each interpretation therefore is ”right”.

I’m not sure about this new theatre I’m engaging in. Not sure about the cast, or the role, or the plot. But I’ve settled at least on the audience. They’ll be explorative, faith-filled, imaginative, forgiving and kind (as much UNLIKE Hillsong as possible). This is theatre of the soul, not the masses.

And of the show itself? It won’t be outside the self,  it will be within. I’m happy to bump it in anytime.

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