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Praise for Facing the Sky
More than a poultice for the psyche, Facing the Sky shows how composing in words and images mitigates trauma, heals on multiple levels, and makes us better functioning humans, as well as more deeply humane. This book demonstrates that when we nurture the voice we nurture the world and shows us how. It is a book for all of us who must sometime, somewhere, at some critical moment hold another’s soul in our hands. Read. Reap.
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When we compose for purposes of healing, we likewise grapple with words and ideas, tugging and pulling between many types of oppositions, including: (1) the whole idea, tone, or attitude we wish to convey versus the individual parts; (2) the past time period in which the traumatic experience occurred versus the current time period; (3) the need to focus on negative experiences versus the impulse not to sound completely negative; and (4) the experiences we wish to show in our writing (i.e., sensory images and details objectively conveyed) versus the meaning we want to tell or summarize, via using generalizations and adjectives. In such writing, we also engage in analysis (breaking wholes into parts) and synthesis (forming wholes from parts). These simultaneous mental actions create tension or “critical thinking,” as well as creative thinking (John-Steiner 1997; DeSalvo 1999).
Thinking, then, resides deep in the heart of composing through trauma. In the people you’ll meet in the chapters ahead, you’ll see them courageously engage in a host of specific thinking strategies, such as making decisions about identity, motivation, audience awareness, genre, rhetoric, and imagery. You’ll also see how these writers wrangle with how they are alike and how they differ from other people, as they try to fit themselves into their radically altered realities brought on by their trauma. You’ll see these writers grapple with all types of “oppositions” or tensions, as they try to gain some resolution on more level ground.
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