Can children be depressed?

It may be hard to believe that children can experience depression at a very young age, but as the NHS explains, “10% of children in Great Britain aged between 5 and 16 have a mental health problem, with 4% of children suffering from an emotional disorder such as anxiety or depression.” Lloyd Jones, author of The Princess and the Fog, shares his personal experience with depression as a child and adult, and explains how he learned to cope through his art.

This content was originally posted on Lloyd’s blog.

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‘Depression has been something of a running theme in my illustration work for a long time and The Princess and the Fog is obviously no exception. It is a subject that is very  near and dear to my heart as I’ve personally suffered from depression for most of my life.

I first felt as though I had a tendency towards depression when I was a child. I had only a cursory understanding of what it was – namely that it made you feel tired and sad and disinterested in things much of the time – which I felt described me, but I didn’t really know what it MEANT to be depressed or what one was supposed to do about it. I remember I confided in an adult – a family member, I won’t say whom – for some advice. “I think I’m depressed,” I admitted. “What have you got to be depressed about?” they replied, fairly astounded. And that was the end of the discussion. I suddenly felt as though I hadn’t earned the right to be depressed. I was just a kid. I didn’t have anything to be depressed about. I suddenly felt so embarrassed and so intensely alone. I don’t really remember what happened after that but I know that for a long time I wasn’t able to talk to anybody about it again.

It wasn’t until I was 21, in the second year of my BA, that I was first officially diagnosed with depression and put on fluoxetine. Suddenly I was allowed to be depressed. It was okay to talk about it and there were pamphlets and medicines and all sorts of things I was allowed to know about. I had had some experiences in college with herbal remedies and counselling that only seemed to be taken semi-seriously and didn’t really do much for me but this was the real deal. Depression as a theme started seeping into my illustration work as something I finally understood enough to be able to communicate. Projects like the Short Term Diaries of the first year of my MA gained some popularity as an alternative therapeutic tool, and I seemed to reach a lot of people with my short graphic memoir zine There’s A Hole In My Chest and its follow-up There’s a Hole In Your Chest. I was meeting and communicating to increasingly more people who felt the way I did.

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Excerpt from ‘There’s A Hole In My Chest’

For the second year of my MA I wanted to do something different, having felt a bit stifled by the Short Term Diaries towards the end of the project. I liked the responses I got to my Hole in Chest books so I thought it might be a good idea to keep the same theme rolling. Writing and illustrating a picture book had been on my bucket list for a while so I thought I’d give it a try.

When I began writing the story I had to do a lot of research into childhood depression to make sure I tackled the subject responsibly and respectfully, and to make sure I got my facts straight. I discovered after struggling to find much that childhood depression was still a relatively new concept and that up until recently it was believed that children could not become depressed. Suddenly I had a bit more context for the loneliness I had felt as a child. There were hardly any books for children with depression out there. There were dozens of books and pamphlets and cartoons and other media for children living with just about any other mental illness you could think of, but not depression. I realised that if I made one, it could actually be really important to someone. A year and a half of working on it later, and here we are.

If I had had a book like The Princess and the Fog when I was a child, I wonder how different things would have been. If I’d known that I wasn’t the only person out there feeling this way, I can’t help but think I might have felt a lot less isolated and desperate, and  perhaps because of that I would have had a better understanding of how to deal with it. That was the book I tried to create. If The Princess and the Fog helps even one kid out there feel like they don’t need an excuse to be depressed, that there’s somebody else out there who’s been through the same thing and survived, and that they can do the same, then I’ll have done my job and I’ll be happy.

Lloyd Jones lives in the south of England. Lloyd has a first class honours degree in Illustration from the University of Portsmouth, an MA in Sequential Design and Illustration from the University of Brighton and he is currently working on a PGCE FE from the University of Southampton. He has learned to live with his fog, rather than suffer from it. Learn more about The Princess and the Fog

Find out more about depression and anxiety in children here.

 

Goodreads Book Giveaway

The Princess and the Fog by Lloyd Jones

The Princess and the Fog

by Lloyd Jones

Giveaway ends August 19, 2015.

See the giveaway details
at Goodreads.

Enter Giveaway

Designing The Princess and the Fog

What better way to explain depression to children than with a relatable and enjoyable storybook full of vibrant illustrations? The author of The Princess and the Fog, Lloyd Jones, reveals the motivation behind designing this book and its characters in his distinctive and colourful style. This content was originally posted on Lloyd’s blog.

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The Princess

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I chose a princess as the protagonist of my book because it is an archetypical character in children’s fiction. If you know that a picture book is about a princess, you can infer a lot about what the story, setting and characters are likely to be based on the countless princess stories you’re already familiar with. I was then able to turn that on its head by introducing new elements to surprise the reader and make the main character of the story much more relatable.

Additionally, princesses are typically revered and looked up to by the children who read their stories. They are something that a lot of young girls in particular strive to be. If a princess can get depression, anyone can. I think it’s important that the children who read my story can relate to its protagonist in quite a personal way so that they know that they aren’t alone and that this thing that they’re struggling with that they can’t explain can happen to just about anyone else. Depression can make you feel very alone, so just knowing that there is someone out there – even a fictional princess – who is going through something similar can be a huge comfort.

 

The Setting

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The setting of The Princess and the Fog is a strange mix of traditional old-fashioned fairy tale and modern day. A huge purple castle sits at the heart of a bustling modern metropolis. The Princess rides horses, everyone else drives cars. Television and print media apparently exist but so do knights and adventurers with swords and shields. This, again, is designed to make the story relatable on a number of different levels. Children will find the fairy tale elements of the situations as familiar as the real life ones.

In my research into writing for children I learned of the importance of metaphor. Children do not tend to like stories with aggressive morals. While the book deals with real-life problems, I have managed to avoid “outing” the children who read it by disguising the issues that young readers may be facing behind metaphors. Readers may understand that the book is describing a situation similar to their own without feeling like it’s singling them out or trying to teach them a lesson. The story is designed to be enjoyed in its own right but with a hidden depth to it that should communicate with any young readers who are feeling the same way as The Princess.

 

The Fog

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In my early design ideas for the book I was toying with various ideas for how to represent depression visually. I had previously used the idea of a hole in one’s chest and an obscured, scribbled out face in an earlier independent project called There’s A Hole In My Chest and didn’t want to use it again as I thought it would be too grim for children. Early ideas included some kind of slow, lazy slime monster not unlike The Doldrums in The Phantom Tollbooth, a hat or helmet of some kind that couldn’t be taken off once it was put on, and a ball and chain, but none of these quite described the feeling adequately. I decided that whatever it was it needed to be opaquely black, thick, impossible to remove and in some way at least partially obscure the protagonist’s head and face to create a sense of loneliness and isolation from the outside world.

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The title The Princess and the Fog popped into my head one day and it just fit perfectly. It ticked all the boxes, I could illustrate it in a similar frustrated scribbly way as the obscured faces in There’s A Hole In My Chest, and I just couldn’t resist the pun. The exact depiction of The Fog developed considerably  over the course of making the book before I settled on how it looks in the final product, particularly after notes that it obscured too much of The Princess’s face and could be seen as scary for some readers.

 

The King and Queen

5

It was important to me to have the King and Queen both appear very physically strong, in their own ways. The Queen is extremely tall with very large legs but she’s very thin and a little unbalanced, while The King is short and squat with diddy little legs but with a very large upper body. In this way, it shows that they each have their own strengths that make them a very well-balanced team, both as parents, supporters and as the co-rulers of the unnamed kingdom in which the story takes place. Most children will look to their parents as their first port of call in times of crisis and The Princess is no different. The King and Queen are the first two characters to offer help to The Princess in dealing with her affliction. Although they get it a bit wrong at first, they are an essential part of the large support network The Princess is eventually able to put together. I hope any parental figures reading this book will be inspired to be as strong and determined as The King and Queen.

 

The Supporting Cast

6

The other characters in the story that The Princess eventually enlists for her support network all play important parts in aiding her gradual recovery. Most of them straddle that same weird line between fairy tale and reality by representing both a trustworthy adversary one might find in the battle against depressive illness and a friendly fantasy character. The Druid, for example, brews up some potions for The Princess to try to help her fight away the fog.

7

With his lab coat and diplomas, The Druid is clearly a metaphor for a doctor offering to help medicate the problem. But not everybody responds to medication. Everybody experiences depression differently and no one cure exists that will work for everyone, so I felt it important that the story never explicitly states which of the many solutions The Princess uses to try to rid herself of The Fog actually ultimately works.


Lloyd Jones lives in the south of England. Lloyd has a first class honours degree in Illustration from the University of Portsmouth, an MA in Sequential Design and Illustration from the University of Brighton and he is currently working on a PGCE FE from the University of Southampton. He has learned to live with his fog, rather than suffer from it. Learn more about The Princess and the Fog

 

Exclusive look at The Princess and the Fog

Enjoy this sneak peek at The Princess and the Fog, JKP’s latest children’s book. Vibrantly illustrated, this book was designed to be read with children aged 5-7 who are suffering from depression. 

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Once upon a time there was a Princess. She had everything a little girl could ever want, and she was happy. That is, until the fog came…

 

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Lloyd Jones lives in the south of England. Lloyd has a first class honours degree in Illustration from the University of Portsmouth, an MA in Sequential Design and Illustration from the University of Brighton and he is currently working on a PGCE FE from the University of Southampton. He has learned to live with his fog, rather than suffer from it. Learn more about The Princess and the Fog

 

Mental health support made simple

Following the second edition release of Introducing Mental Health, authors Connor and Caroline Kinsella provide insight into taking a more global and simplified approach to mental health support in the fully revised and updated second edition.

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We wrote the original Introducing Mental Health: A Practical Guide to make the very complicated seem a little bit simpler and to help front-line workers do what often seems like the impossible. It’s not an easy role at the best of times, but much has happened in the nine years between editions to make the job of mental health care even more difficult than it was in 2006.

As thoroughly well behaved and professional writers (ahem) we chose not to fill the book with a long list of all that is wrong with UK mental health services. After all, most of our British readers need no reminders of the savage cuts, dwindling resources and disappearing in-patient beds that are now a feature of UK mental health.

But while it’s all very well to moan incessantly about our own back yard, we looked to the developing world for inspiration to update the simple, straightforward approach to mental health care embodied in the first edition. We’re lucky enough to have as a close friend one Vikram Patel, the Foreword writer of both editions, who is also the director of the Centre for Global Mental health, London. Vikram has spearheaded the global mental health movement which has helped make mental health a priority issue in those parts of the planet where malnutrition, malaria and HIV have traditionally demanded resources that truly put our own budget cuts and resource slashing into perspective. He is now on Time Magazine’s ‘World’s 100 Most Influential People’ list and we met up with him just as he had been interviewed for BBC Radio Four’s excellent The Life Scientific series.

It was a little strange sitting in a London pub with an old friend who is now the psychiatric equivalent of Kim Kardashian, albeit with a rather more worthwhile contribution to the world. While western psychiatry remains bound by an ever increasing list of obscure diagnoses, pharmacological treatments and reliance on highly trained professionals, the global mental health approach is a means of delivering care and support to communities without the need for complex resources, vast infrastructures or highly qualified personnel. Under this guise, mental health support is largely delivered by local people who, to put it quite simply, work with people not symptoms. In a word, it’s a very, very simple model of mental health care. And it works.

Psychiatry is, after all, a relatively straightforward science. It doesn’t take a master’s degree to recognise  when someone is severely depressed or saying bizarre things or taking an hour to leave their house because all the windows and doors need checking several dozen times. But supporting people through mental ill health can be anything but straightforward, and with qualified professionals and NHS facilities becoming ever more scarce, we now rely on police and prison officers, accident and emergency staff, housing support workers and (increasingly) friends and relatives to deal with our most needy and distressed people.

And while the poorest parts of the world begin to develop simple low-tech support systems that make optimal use of professional expertise combined with common-sense and the local knowledge of communities, the global mental health approach starts to look a lot like the sort of system that in many ways we in the UK are adopting by default.

We’ve written Introducing Mental Health twice, in both editions reflecting the many different scenarios and types of worker with whom we have worked in both clinical practice and training. We haven’t ignored the huge advances in the science of genetic and biological origins of mental illness, and have tried to make the science accessible to all. After all, there aren’t many people who would guess how much their Chinese takeaway has in common with the latest explanation of psychotic illness*. But above all we’ve strived to learn from Professor Patel and global mental health how this is above all a social issue, and how all of us have a part to play in helping our community’s most distressed and vulnerable people. It’s really surprisingly simple.

* Sorry. You’ll have to read the book to find the answer.

 

Caroline Kinsella has been a registered nurse since 1980 and has specialised in working with offenders and individuals with severe mental health problems. She has a Master’s degree in Forensic Mental Health from St Georges Hospital Medical School and is currently working with the Dorset Inreach Team as a mental health nurse assessing and care co-ordinating the needs of offenders in several Dorset prisons. Both Connor and Caroline live in Dorset, UK.
Connor Kinsella trained as a mental health nurse and has considerable experience of working with mentally ill people in both in-patient and community environments. Since 1998 he has designed and facilitated training for a wide range of services in health and social care. He writes a well-regarded blog called The Stuff of Social Care and has contributed to The Guardian’s Social Care Network.

To learn more about Introducing Mental Health click here.

 

Self-Help for Adults on the Autism Spectrum

In another blog post for Mental Health Awareness Week award winning JKP author Dr. Lee A. Wilkinson discusses some of the challenges facing adults on the autism spectrum—

The dramatic increase in the prevalence of autism spectrum conditions among children and adolescents and the correspondingly large number of youth transitioning into adulthood has created an urgent need to address the problems faced by many adults on the autism spectrum. Nearly a half million youth with autism will enter adulthood over the next decade and most will continue to require some level of support. In addition, there is a large and diverse group of adults whose autistic traits were not identified in childhood and have not received the appropriate interventions and services. Although autism symptoms may improve with age, co-occurring mental health issues may worsen in adolescence or adulthood. As a result, there are a significant number of adults on the spectrum who are now seeking help to deal with feelings of social isolation, interpersonal difficulties, anxiety, depressed mood, and coping problems. Unfortunately, mental health problems such as anxiety and depression and even the diagnosis of an autism spectrum condition itself often go unrecognized. Although the rate of co-occurring mental health issues for adults on the spectrum is high, accessing services to address these symptoms is frequently difficult and the extent of the problem will only increase as more and more youth transition to adulthood.

Evidence is beginning to emerge for interventions addressing the mental health needs of this growing and underserved group of adults, including cognitive-behavioral therapy (CBT). CBT has direct applicability to adults on the autism spectrum who often have difficulty understanding, managing, and expressing emotions. It has been shown to be effective in changing the way a person thinks about and responds to feelings such as anxiety and depression. With CBT, the individual learns skills to modify thoughts and beliefs through a variety of strategies which improve interaction with others in helpful and appropriate ways, thereby promoting self-regulation and mental health. It is a goal oriented approach and primarily emphasizes here-and-now problems, regardless of one’s past history, traits, or diagnosis. CBT also provides a more structured approach than other types of psychotherapy, relies less on insight and judgment than other models, and focuses on practical problem-solving. Moreover, because individuals learn self-help in treatment they are often able to maintain their improvement after therapy has been completed. Evidence-based CBT holds considerable promise as an effective intervention for improving the quality of life and psychological well-being of adults on the autism spectrum.

Despite the availability of effective psychological treatments for anxiety and depression, a substantial number of adults on the autism spectrum do not seek professional help. Common obstacles to mental health care access include limited availability and affordability of services, confidentiality issues, lack of insurance coverage, frequent delays and long waiting periods, and social stigma. Likewise, many service providers do not have the experience or expertise to work with individuals on the autism spectrum, particularly those with co-occurring mental health issues. Self-help interventions represent an increasingly popular alternative to therapist-delivered psychological therapies, offering the potential of increased access to cost-effective treatment for a range of different mental health issues. They provide an opportunity for the individual to gain some useful insights and begin to work through their problems with limited guidance from a therapist or mental health professional. Research has clearly shown that self-help strategies are effective, practical, and acceptable for many individuals in reducing mental health problems such as mild to moderate anxiety and depression, often alone or with other forms of treatment. Self-help interventions have the potential to play an important role in providing effective treatment to the large proportion of adults on the spectrum who are experiencing mental health issues.

While there is no shortage of books describing the controversies and challenges related to the diagnosis and treatment of autism spectrum conditions, there is a need for a practical resource for adults on the spectrum that promotes self-understanding and directly teaches effective ways of coping with their emotional challenges. Overcoming Anxiety and Depression on the Autism Spectrum: A Self-Help Guide Using CBT presents strategies derived from cognitive-behavioral therapy (CBT), adapted specifically for adults with autism, to help them overcome anxiety and depression, and improve their psychological well-being. The author takes the best of CBT therapeutic techniques to facilitate greater self-understanding, self-advocacy, and better decision-making in life-span activities such as employment and interpersonal relationships. This self-help guide provides evidence-based tools that can be used to learn new ways of thinking, feeling, and doing. It includes questionnaires, forms/worksheets, and exercises to help the reader:

  • Evaluate his or her autistic traits and discover their cognitive style.
  • Identify and modify the thoughts and beliefs that underlie and maintain the cycles of anxiety, depression, and anger.
  • Apply therapeutic techniques such as mindfulness, positive self-talk, guided imagery, and problem solving.
  • Accept the past and achieve unconditional self-acceptance.
  • Deal effectively with perfectionism and low frustration tolerance.
  • Avoid procrastination and learn to maintain positive changes to their progress

Used alone or in combination with therapy, Overcoming Anxiety and Depression on the Autism Spectrum: A Self-Help Guide Using CBT is an essential self-help book for adults across the spectrum looking for ways to understand and cope with their emotional challenges and improve their psychological well-being.

 

About the Author

Lee A. Wilkinson, PhD, NCSP, CPsychol, AFBPsS is a licensed and nationally certified school psychologist, chartered psychologist, registered psychologist, and certified cognitive-behavioral therapist. He has published widely on the topic of autism spectrum disorders both in the US and internationally. Dr. Wilkinson is author of the award-winning book, A Best Practice Guide to Assessment and Intervention for Autism and Asperger Syndrome in Schools, also published by Jessica Kingsley Publishers and editor of a recent volume in the American Psychological Association (APA) School Psychology Book Series, Autism Spectrum Disorder in Children and Adolescents: Evidence-Based Assessment and Intervention in Schools.

Talking to children about schizophrenia

In a special blog post for Mental Health Awareness Week, we’ve asked Alice Hoyle, author of Pretend Friends, to share her thoughts on therapeutic storybooks for children. 

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I always wanted to be a writer or a teacher. Since teaching was more likely to pay my bills I went down the route of educating the masses, whilst still scribbling down the odd poem or story when the mood took me (mainly when suffering avoidance stress from a major deadline!).  I wrote my first published story Pretend Friends whilst doing some Masters research into inclusive storybooks.  It was then that I realised there were very few story books to support discussions about serious mental illness with young children. There were a few books about depression but nothing to help explain about symptoms of psychosis such as hearing voices.  So I decided to write my own story (partly in a spectacular effort of procrastination from said Masters!).

The idea for using the concept of ‘pretend friends’ as an analogy for schizophrenia came to me when spending time with my children and someone close to our family who has experienced psychosis.  My eldest was talking about her imaginary friend Hector and the adventures they were going to go on. It struck me we are not concerned when children have imaginary friends but when adults hear voices it is a different matter. Pretend friends is an analogy children can relate to which simplifies some of the complexities of experiencing psychosis or living with schizophrenia to a level children can understand.

The key messages outlined in the book  are gentle, non-scary, age-appropriate explanations about what it might be like to live with hearing voices or experiencing things that other people don’t experience.  The story explores the adventures of Little Bea and her imaginary friend Nye-Nye, and compares them with the experiences of Big Jay and his pretend friends (the voices he hears).  The story asks for people to be kind to people like Big Jay and to “love them just as they are”.

Another important message to include was to make sure that the main character, Little Bea, was absolved of any big responsibility to make Big Jay better, and that ways of supporting Big Jay in his recovery were explained.  I didn’t want a child to feel worried or upset or that they needed to take on caring responsibilities if they found out someone close to their family was hearing voices. That should be a grown-up’s job!

I am so pleased that this book has been published as I think it is vitally important to start talking about mental health from a young age. This way children can learn to look after their own mental health, and to support their peers if they are experiencing issues of their own.  I decided to donate all my royalties to the charity Rethink Mental Illness as writing this book wasn’t about making money, but about supporting families like my own with a tool that can help them have conversations about serious mental illness.  After all, as a parent, I want my children to grow up to be kind and accept people for who they are, and not to worry or be scared of people who are different from them. As a health educator I want the same for all children.  I truly believe that supporting children to understand mental illness, will help our society to become more inclusive, supportive and kind.

Alice Hoyle works as an Associate Advisory Teacher of Personal, Social, Health & Economic (PSHE) Education for the PSHE Association.  Alice lives in Bath with her husband, two daughters and a plethora of pretend friends including Elfie, Li-Li, Ariella and Micub. Alice would love to hear from you if the story of Pretend Friends helps your family in some way, you can find her on Twitter as @AliceHoylePSHE.

Call for Comic and Graphic novel submissions

Jessica Kingsley Publishers and Singing Dragon (an imprint of JKP) have recently started developing an exciting new line of comics and graphics novels and we are now open for submissions.

At JKP we are committed to publishing books that make a difference. Our range of subjects includes autism, dementia, social work, art therapies, mental health, counselling, palliative care and practical theology. Have a look on www.jkp.com for our full range of titles.

Singing Dragon publishes authoritative books on all aspects of Chinese medicine, yoga therapy, aromatherapy, massage, Qigong and complementary and alternative health more generally, as well as Oriental martial arts. Find out more on www.singingdragon.com

If you have an idea that you think would work well as a graphic book, or are an artist interested in working with us, here is what we are looking for:

Graphic novel or comic – Long form

We are looking for book proposals that are between 100 and 200 pages, black and white or colour, and explore the topics listed above or another subject that would fit into the JKP/Singing Dragon list. Specifically we are hoping to develop more personal autobiographical stories.

Here are the guidelines for submission:

  1. A one-page written synopsis detailing the plot/outline of the book, as well as short bios of all the creators involved.
  2. Character sketches of the main characters with descriptions.
  3. Solo artist/writers or writer and artist teams should submit 5 to 10 completed pages to allow us to get a sense of the pace, art style and writing.
  4. Solo writers will need to submit 10 to 20 pages of script as well as the one-page synopsis from point 1.

Comic – Short form

We have some shorter comic projects underway and are looking to expand the range of topics covered. These books can run from 20 to 40 pages, black and white or colour, with dimensions of 170x230mm. We are mainly looking for comics that provide ideas and information for both professionals and general readers.

For example, the first in this series, published by Singing Dragon, is a book exploring the latest developments in chronic pain research.

Here are the guidelines for submission:

  1. A one-page written synopsis detailing the narrative style and subject matter to be explored in the book. Also include short bios of all the creators involved.
  2. Solo artist/writers or writer and artist teams should submit 3 to 5 completed pages to allow us to get a sense of the pace, art style and writing.
  3. Solo writers will need to submit 5 to 10 pages of script as well as the one-page synopsis from point 1.

When submitting please provide low-res images and send them, along with everything else, to Mike Medaglia at mike.medaglia@jkp.com

If you have any other ideas that don’t directly relate to the subjects described above but you feel might still fit into the JKP or Singing Dragon list, please feel free to get in touch with ideas and enquiries on the email above.

On the value of writing with traumatised young people – with Marion Baraitser

Baraitser_Reading-and-Exp_978-1-84905-384-6_colourjpg-printMarion Baraitser demonstrates the power of writing with traumatised children and young people. Marion’s book ‘Reading and Expressive Writing with Traumatised Children, Young Refugees and Asylum Seekers: Unpack My Heart With Words’ is available now from the JKP website.

On the value of writing with traumatised young people:
When disturbed young people have read aloud together a strong text, talked about it with a practiced facilitator in a roomful of trusted community members, discussing characters and subjects that concern their own lives, and then written about it, it can transform their idea of themselves and of their future lives. They are better able to externalize self-hood so they can exist in the world, feeling that their internal being has connected to the outside world through books, in some profound way, a form of ‘being-in-development’, a process of growing and changing the many selves they can uncover by this process. The facilitator brings energy, optimism, warmth and responsiveness, even inspiration, or at least motivation or affirmation, to each session.
Here is Amina on the value of writing in helping her to heal:
Writing is helping me to put down memories, different perspectives, to try to find the line… Talking doesn’t do this. When I write I am having a relationship with my journal. Writing is like having a conversation with yourself. I tend to be more honest… pick up on things that lie deeper. I love myself, in writing… I am lucky to be here… I am lucky to be alive… You must keep going and finding yourself, at the same time staying true to yourself… even though you cannot forget where you started from.

Boy

How reading great books together can change lives:
The Nigerian writer Ben Okri, who holds childhood memories of civil war in Nigeria, of his schooling in Lagos 400 miles from his family and of how, on reaching England, he lived rough, by his wits, homeless and miserable. He went to London because of Dickens and Shakespeare, but he also loved African writers like Chinua Achebe and Wole Soyinka. ‘Literature doesn’t have a country. Shakespeare is an African writer… Dickens’ characters are Nigerians.’ (Okri, 1992) As the young people read aloud in the company of a facilitator and a like-minded group, they become the writer, they are taken out of themselves, and if the writer is worth his salt, that encompasses a whole new set of dimensions that can change the way they regard life and their place in it.

Marion’s book ‘Reading and Expressive Writing with Traumatised Children, Young Refugees and Asylum Seekers: Unpack My Heart With Words’ is available now from the JKP website.

 

 

 

Why Neuroscience for Counsellors?

Rachal Zara Wilson is a counsellor, social worker and author of the new Neuroscience for CounsellorsWe caught up with her for a quick chat about the book and why she wanted to write about such a complex topic. 

1.  Who do you think would benefit from reading this book?

Definitely counsellors, but also any other therapists as well.  The book is designed so that it has sections where the neuroscience is explained, and separate sections for counsellors and other therapists with suggestions on how to use this knowledge for the benefit of their clients in the session room.

Families of people who are experiencing mental health dysfunction may also be interested in the knowledge contained in this book, and also in the implications for how they can support their loved ones.

2.  Why did you write this book? Wilson_Neuroscience-fo_978-1-84905-488-1_colourjpg-print

I’ve always been interested in neuroscience; the brain is so fascinating and amazing, and capable of so much more than we’ve always been led to believe.  And of course, as a counsellor working with people, how the brain works has always been top of my mind.  The final motivator was having a child who was experiencing problems with their mental health, and I guess I just hoped to find something that would help him and others in a similar situation during the course of my research.

3.  So what’s so exciting about what you learned?

Probably the most exciting thing would be the brain’s capacity to change itself, known as brain plasticity.  The brain isn’t static, it’s more like a dynamic organ that is constantly changing for better or worse.  And what we do plays a huge part in how it changes.  How much stress we’re under, what we eat, the quality of our sleep, whether we exercise and how much, our living environments, and the presence or absence of early trauma in our lives are some of the things that contribute to the way our brain functions, and to its capacity for change, or plasticity.  I guess the most exciting thing is that we have control over this plasticity to a large degree, and we can therefore improve the quality of our brain function, our health and our lives.

4. Why don’t we know this stuff already?

Because neuroscience is a field in its infancy.  There’s a lot of learning coming through, but much of it’s wrapped up in scientific jargon, making it inaccessible to those of us who are not scientists.  And because there’s lots of different levels of looking at the brain, (both micro and macro,) different neuroscience specialties do not always integrate their specialist knowledge.  I think the benefit of this book is that it integrates the neuroscience into an overall big picture, while also drawing on this resource to come up with practical ways for integrating it into therapy.  It hasn’t been done before because it’s new, because it’s complex, and because integrating neuroscience with counselling and other therapies requires a knowledge of both fields.  I believe that in the future, all practitioners providing talking therapies are going to need to understand what neuroscience offers our professions, or risk becoming irrelevant.

5.  Why put it in a book?

This knowledge is meant to be shared.  All counsellors and therapeutic practitioners want best outcomes for their clients, and the more knowledge we have that can help people make positive change in their lives, the better.

6.  Is it complicated?

The neuroscience is complex, but the book is designed so that people who just want to know what it means for their practice can just read those sections, while those who want to understand how it all works can read up on the explanations for how all the scientific evidence fits together.  The book is written in the plainest English possible, and there is a glossary and diagrams at the back to help you fit it all together.

You can find out more about the book, read reviews and order your copy here.

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