Kitabı oku: «The Well Gardened Mind», sayfa 2

Wordsworth frequently worked on his poems in that garden. He described the essence of poetry as ‘emotion recollected in tranquillity’ and it is true for all of us that we need to be in the right kind of setting to enter the calm state of mind needed for processing powerful or turbulent feelings. The Dove Cottage garden, with its sense of safe enclosure and lovely views beyond, gave him just that. He wrote many of his greatest poems whilst living there and developed what would be a life-long habit of pacing out rhythms and chanting verses aloud whilst striding along garden paths. So the garden was both a physical setting for the house as well as a setting for the mind; one that was all the more significant for having been shaped by his and Dorothy’s own hands.

Wordsworth’s love of horticulture is a less well-known aspect of his life but he remained a devoted gardener well into old age. He created a number of different gardens, including a sheltered winter garden for his patron Lady Beaumont. Conceived of as a therapeutic refuge, it was designed to alleviate her attacks of melancholy. the purpose of a garden such as this was, he wrote, ‘to assist Nature in moving affections’. In providing a concentrated dose of the healing effects of nature, gardens influence us primarily through our feelings but however much they may be set apart as a refuge, we are nevertheless, as Wordsworth described, ‘in the midst of the realities of things’. These realities encompass all the beauties of nature as well as the cycle of life and the passing of the seasons. In other words, however much they can offer us respite, gardens also put us in touch with fundamental aspects of life.

Like a suspension in time, the protected space of a garden allows our inner world and the outer world to coexist free from the pressures of everyday life. Gardens in this sense, offer us an in-between space which can be a meeting place between our innermost, dream-infused selves and the real physical world. This kind of blurring of boundaries is what the psychoanalyst Donald Winnicott called a ‘transitional’ area of experience. Winnicott’s conceptualisation of transitional processes was to some extent influenced by Wordsworth’s understanding of how we inhabit the world through a combination of perception and imagination.

Winnicott was also a paediatrician and his model of the mind is about the child in relation to the family and the baby in relation to the mother. He emphasised that a baby can only exist by virtue of a relationship with a care-giver. When we look at a mother and baby from the outside it is easy to distinguish them as two separate beings, but the subjective experience of each is not so clear-cut. The relationship involves an important area of overlap or in-between through which the mother feels the baby’s feelings as the baby expresses them and the baby in turn does not yet know where it begins and its mother ends.

Much as there can be no baby without a care-giver, there can be no garden without a gardener. A garden is always the expression of someone’s mind and the outcome of someone’s care. In the process of gardening too, it is not possible to neatly categorise what is ‘me’ and what is ‘not-me’. When we step back from our work how can we tease apart what nature has provided and what we have contributed? Even in the midst of the action itself, it is not necessarily clear. Sometimes when I am fully absorbed in a garden task, a feeling arises within me that I am part of this and it is part of me; nature is running in me and through me.

A garden embodies transitional space by being in-between the home and the landscape that lies beyond. Within it, wild nature and cultivated nature overlap and the gardener’s scrabbling about in the earth is not at odds with dreams of paradise or civilised ideals of refinement and beauty. The garden is a place where these polarities come together, maybe the one place where they can so freely come together.

Winnicott believed that play was psychologically replenishing but he emphasised that in order to enter an imaginary world, we need to feel safe and free from scrutiny. He employed one of his trademark paradoxes to capture this experience when he wrote of how important it is for a child to develop the ability to be ‘alone in the presence of the mother’. In my gardening, I often recapture a feeling of being absorbed in play – it is as if in the safe curtilage of the garden, I am in the kind of company that allows me to be alone and enter my own world. Both daydreaming and playing are increasingly recognised to contribute to psychological health and these benefits do not stop with the end of childhood.

The emotional and physical investment that working on a place entails means that over time it becomes woven into our sense of identity. As such it can be a protective part of our identity too, one that can help buffer us when the going gets tough. But as the traditional pattern of a rooted relationship to place has been lost, so we have lost sight of the potentially stabilising effects on us of forming an attachment to place.

the field of attachment theory was pioneered by the psychiatrist and psychoanalyst John Bowlby in the 1960s, and there is now an extensive research base associated with it. Bowlby regarded attachment as ‘the bedrock’ of human psychology. He was also a keen naturalist and this informed the development of his ideas. He described how birds return to the same place to build their nests year after year, often close to where they were born and how animals do not roam about at random, as is often thought, but occupy a ‘home’ territory around their lair or burrow. In the same way, he wrote, ‘each man’s environment is unique to himself’.

attachment to place and attachment to people share an evolutionary pathway and a quality of uniqueness is central to both. The feeding of an infant is not enough on its own to trigger bonding because we are biologically encoded to attach through the specificity of smells, textures and sounds, as well as pleasurable feelings. Places, too, evoke feelings and natural settings are particularly rich in sensory pleasures. These days we are increasingly surrounded by functional places lacking in character and individuality, like supermarkets and shopping malls. Whilst they provide us with food and other useful things, we don’t develop affectionate bonds for them; in fact they are often deeply unrestorative. As a result, the notion of place in contemporary life has increasingly been reduced to a backdrop and the interaction, if there is any, tends to be of a transient nature, rather than a living relationship that might be sustaining.

At the heart of Bowlby’s thinking is the idea that the mother is the very first place of all. Children seek out her protective arms whenever they are frightened, tired or upset. This ‘safe haven’ becomes what Bowlby called a ‘secure base’ through repeated small experiences of separation and loss that are followed by reunion and recovery. When a feeling of security has been established, a child becomes emboldened to explore its surroundings, but still keeps half an eye on its mother as a safe place to return to.

It is a sad fact of modern childhood that playing outdoors has become something of a rarity but traditionally parks and gardens provided the setting for an important kind of imaginative and exploratory play. Creating dens in the bushes as ‘adult-free’ zones is a way of rehearsing future independence and they have an emotional role too. research shows that when children are upset, they instinctively use their ‘special’ places as a safe haven in which they feel protected while their unsettled feelings subside.

Attachment and loss, as Bowlby revealed, go together. We are not primed to dis-attach, we are primed to seek reunion. It is the very strength of our attachment system that makes recovering from loss so painful and difficult. Whilst we have a strong inborn capacity to form bonds, there is nothing in our biology that helps us deal with bonds that get broken and it means that mourning is something we have to learn through experience.

In order to cope with loss, we need to find or re-find a safe haven and feel the comfort and sympathy of others. For Wordsworth, who had suffered the pain of bereavement as a child, the gentle aspects of the natural world provided a consoling and sympathetic presence. The psychoanalyst Melanie Klein alludes to this in one of her papers on the subject of mourning where she writes: ‘The poet tells us that Nature mourns with the mourner.’ She goes on to show how, in order to emerge from a state of grief, we need to recover a sense of goodness in the world and in ourselves.

When someone very close to us dies, it is as if a part of us dies too. We want to hold on to that closeness and shut down our emotional pain. But at some point the question arises – can we bring ourselves alive again? In tending a plot and nurturing and caring for plants we are constantly faced with disappearance and return. The natural cycles of growth and decay can help us understand and accept that mourning is part of the cycle of life and that when we can’t mourn, it is as if a perpetual winter takes hold of us.

We can also be helped by rituals or other forms of symbolic action that enable us to make sense of the experience. But in the secular and consumerist worlds that many of us now inhabit, we have lost touch with traditional rituals and rites of passage that might help us navigate our way through life. Gardening itself can be a form of ritual. It transforms external reality and gives rise to beauty around us but it also works within us, through its symbolic meaning. A garden puts us in touch with a set of metaphors that have profoundly shaped the human psyche for thousands of years – metaphors so deep they are almost hidden within our thinking.

Gardening is what happens when two creative energies meet – human creativity and nature’s creativity. It is a place of overlap between what is ‘me’ and ‘not-me’, between what we can conceive of and what the environment gives us to work with. So, we bridge the gap between the dreams in our head and the ground under our feet and know that while we cannot stop the forces of death and destruction, we can, at least, defy them.

Somewhere in the recesses of my memory lay hidden a story that I must have heard in childhood which came back to me on writing this book. It is a classic fairy tale of the type that involves a king with a lovely daughter and suitors queuing up for her hand. The king decides to get rid of the suitors by setting them an impossible challenge. He decrees that the only person who can marry his daughter is someone who brings him an object so unique and so special that no one in the world has set eyes on it before. His gaze, and his gaze alone, has to be the first to fall on it. The suitors duly travel to far-flung, exotic locations seeking the prize they hope will guarantee their success and return bearing unusual and novel gifts that they have not even glimpsed themselves. Carefully wrapped and extraordinary as their findings are, another human eye has always looked on them before – someone has either made the beautiful objects, or found them, like the gem from the deepest diamond mine which is the rarest and most precious gift of them all.

The palace gardener has a son who is secretly in love with the princess and interprets the challenge in a different way – one that is informed by his close relationship with the natural world. The trees around the grounds are groaning with nuts and he presents one to the king, along with a pair of nutcrackers. The king is bemused at being given something as ordinary as a nut, but then the gardener’s son explains that if the king cracks the nut open he will see something that no living soul has ever set eyes on before. The king, of course, has to honour his pledge; so in the way of all good fairy stories, it is a tale of rags to riches and lovers united. But it is also about how the wonders of nature may be revealed to us if we do not overlook them. More than that, it is a tale about human empowerment because nature is accessible to us all.

If there were no loss in the world we would lack the motivation to create. As the psychoanalyst Hanna Segal wrote: ‘It is when the world within us is destroyed, when it is dead and loveless, when our loved ones are in fragments, and we ourselves in helpless despair – it is then that we must recreate our world anew, reassemble the pieces, infuse life into dead fragments, recreate life.’ Gardening is about setting life in motion and seeds, like dead fragments, help us recreate the world anew.

It is just this newness that is so compelling in the garden, life endlessly reforming and reshaping itself. The garden is a place where we can be in on its beginning and have a hand in its making. Even the humble potato patch offers this opportunity, for in turning over the mounded-up earth, a cluster of potatoes that no one has set eyes on before is brought into the light.

2
GREEN NATURE: HUMAN NATURE

Who would have thought my shrivel’d heart

Could have recover’d greenness? It was gone

Quite underground.

George Herbert (1593–1633)

SNOWDROPS ARE THE first sign of new life in our garden when winter begins its turn. Their green shoots feel their way up from the dark earth and their simple white flowers express the purest intention of a fresh start.

Each year in February, before the snowdrops die back, we divide some of them up and replant them. Whilst much of the year they are invisible, they grow and replicate themselves underground. The resident mice feed on other bulbs in the garden but they leave the snowdrops alone, so they multiply themselves with abandon. It is not only the mass of them that is compelling, it is the sense of legacy; the legions of snowdrops that now cover our ground started from a few buckets of bulbs transplanted from Tom’s mother’s garden more than thirty years ago.

Renewal and regeneration occur naturally in the plant world but psychological repair does not come so naturally to us. Although the mind has an intrinsic drive towards growth and development, there are pitfalls in its workings. Many of our automatic responses in the face of trauma and loss – such as avoidance, numbness, isolation and ruminating on negative thoughts – actually work against the possibility of recovery.

The repetitive patterns of anxious and obsessive thinking that occur in depression set up a vicious circle. This kind of preoccupation is the mind’s attempt to make sense of things but trying to solve unfathomable problems keeps us stuck in a mental groove and prevents us moving forward. Depression has another inbuilt circularity because, when we are depressed, we perceive and interpret the world and ourselves much more negatively and this in turn feeds our low mood and reinforces the urge to isolate ourselves. The truth is that, left to its own devices, the mind easily leads us down a rabbit hole.

I recall a patient from many years ago who, long before I started thinking about the therapeutic effects of gardening, sowed a seed in my mind. Kay lived with her two sons in a flat with a small garden. She suffered recurrent episodes of depression, some of which had been severe. Her childhood had been marked by violence and neglect. In adult life, she struggled to form relationships and had brought her sons up largely on her own. The boys’ teenage years were full of conflict and when both of them left home in quick succession, Kay became depressed again. For the first time in twenty years she found herself living alone.

It became clear in her therapy that she had internalised a lot of bad feelings about herself, feelings that originated in childhood and which made it hard for her to let good things into her life, because deep down she believed she did not deserve them. If something good did come along, after a period she would start to feel anxious about losing it. As a result, she often sabotaged relationships and other chances to change her life, thereby pre-empting the disappointments that she thought, and that to some extent life had taught her, would inevitably follow. In this way, depression can become a self-reinforcing state in which it feels safer not to let anything grow, not to risk bringing hope alive, out of fear of being driven by disappointment to even greater depths.

At the back of Kay’s flat there was a small garden which had been trashed by her sons over the years. Now that they were no longer living at home she decided to reclaim the space and, over the months that followed, she acquired the habit of gardening. One day she said to me: ‘It is the only time I feel I am good.’ This statement was striking, partly because of the conviction with which she uttered it, but also because a sense of her own goodness was hard for her to come by.

So what did Kay mean by this feeling of goodness? Working in the garden directed attention outside herself and gave her a place of refuge, both of which were helpful. But above all, gardening provided a real-life confirmation that the world was not so bad and she was not so bad either. Kay discovered that she could make things grow. Gardening was not a cure for her depression which, after all, was longstanding, but it helped to stabilise her and gave her a much-needed source of self-worth.

Although gardening is a creative act, it is not always held in high regard. Sometimes it is trivialised as a ‘nice’ hobby or an unnecessary luxury; equally it may be relegated to a form of lowly manual labour. The source of this polarisation can be traced back to the Bible. The garden of Eden is as beautiful as it is abundant and until Adam and Eve are cast out to toil over hard ground, they live in a state of perfection. If the garden is caught between paradise on the one hand and punishing hard labour on the other, where is the middle ground? Where can we find gardening as meaningful work?

The story of Saint Maurilius, who was the Bishop of Angers in the early fifth century, goes some way to answering that question. One day while Maurilius was performing Mass, a woman entered the church and pleaded with him to come with her and administer the holy sacrament to her dying son. Not realising the urgency of the situation, Maurilius continued with the Mass and before he was finished, the boy was dead. Consumed by feelings of guilt and unworthiness, the bishop secretly left Angers and boarded a ship for England. During the journey, the keys to the city’s cathedral were lost overboard and he took this as a sign that he was not meant to return. Once in England, he worked as a gardener for an important nobleman. Meanwhile, the inhabitants of Angers sent out a search party for their beloved bishop. Eventually, after seven years, they found the nobleman’s mansion and encountered Maurilius as he emerged from the garden bearing produce for his master. They greeted him warmly and Maurilius was amazed when they handed him the lost keys which they had recovered on their journey.

Realising that he was now forgiven, Maurilius resumed his life as bishop and was subsequently made a saint. He is depicted in murals at Angers and in a surviving fragment of tapestry digging the English nobleman’s garden, surrounded by fruit trees and flowers, and presenting the fruits of his labours to his master.

My interpretation of Maurilius’s story is that the regret and self-blame he suffered following the boy’s death shattered his sense of identity and triggered a form of depressive breakdown. Over some considerable time, he strived to reconcile himself to what he regarded as a failure in his duty of care. Through gardening he found a way to make some kind of reparation for the guilt and unworthiness he felt. In the end he recovered a sense of self-worth (represented in the story by the return of the keys) which enabled him to return to his former role and reconnect with his community.

Following his death, however, Maurilius’s seven years of gardening were used within religious teaching as an example of how sins can be expiated by ‘performing our work in the spirit of penance’. But Maurilius’s story does not speak of penance or self-punishment to me. He did not take flight to the desert and cultivate hostile ground like the early Christian fathers; nor did he enter a solitary exile like Saint Phocas and Saint Fiacre, the two patron saints of gardening. Instead, he chose to grow flowers and fruits in a worldly place. Perhaps through working in the nobleman’s garden, he found a relationship with his god that did not demand an excess of self-punishment but, in a more benign way, offered him a second chance, a chance to ‘make good’ and eventually reclaim his role in the world. I like to think it is an early documentation of therapeutic horticulture in action and I have come to see it as an allegory of the restorative potential of gardening.

In the following century, it was Saint Benedict with his Rule for monastic living, who officially lifted gardening from the realm of penitential toil by asserting the sanctity of manual labour. Benedict’s thinking when he first proposed it was revolutionary, not only within the Church but also within a wider context in which tilling the soil was associated with serfdom and a beleaguered peasant class. For the Benedictines, gardening was an equaliser and nobody within the monastery was too grand or too learned to work in the garden for part of the day. This was a culture of care and reverence in which the gardener’s tools were to be treated with the same level of respect as the vessels of the altar. It was a way of life in which the body, mind and spirit were held in balance and in which the virtuous life was an expression of our interconnectedness with the natural world.

In the aftermath of the fall of Rome, dark times descended on Europe and the land was badly in need of regeneration. The Roman Empire had seen the growth of large estates, or latifundia, which were run on a system of slave labour and had exploited the land to the point of exhaustion. As the Order of Saint Benedict grew in size and influence, they took on some of these abandoned and ruined estates and set about developing them as monasteries and replenishing the land. The reparative work that the Benedictines undertook was every bit as material as it was spiritual, in fact the two were inextricably linked because of Saint Benedict’s belief that the life of the spirit needed to be grounded in a relationship with the earth.

A typical monastery had vineyards, orchards and plots for growing vegetables, flowers and medicinal herbs. There were also enclosed gardens which provided tranquil spaces for meditation and recovery from illness. Saint Bernard’s account of the hospice gardens at Clairvaux Abbey in France dates from the eleventh century and is one of the earliest descriptions of a therapeutic garden. ‘The sick man sits upon the green lawn,’ he wrote and ‘for the comfort of his pain all kinds of grass are fragrant in his nostrils … the lovely green of herb and tree nourishes his eyes … the choir of painted birds caresses his ears … the earth breathes with fruitfulness, and the invalid himself with eyes, ears, and nostrils, drinks in the delights of colours, songs and perfumes.’ It is a strikingly sensuous account of drawing strength from the beauty of nature.

The remarkable twelfth-century abbess Saint Hildegard of Bingen took the Benedictine teachings further. Highly respected as a composer and a theologian, as well as a medicinal herbalist, she developed her own philosophy based on the connection between the human spirit and the growth force of the earth which she called viriditas. Like the source of a river, viriditas is the font of energy on which all other life forms ultimately depend. The word combines the Latin for green and truth. Viriditas is the origin of goodness and health, in contrast to ariditas, or dryness, which Hildegard regarded as its life-defying opposite.

The greening power of viriditas is both literal and symbolic. It refers to the flourishing of nature as well as the vibrancy of the human spirit. By placing ‘greenness’ at the heart of her thinking, Hildegard recognised that people can only thrive when the natural world thrives. She understood that there is an inescapable link between the health of the planet and human physical and spiritual health, which is why she is increasingly regarded as a forerunner of the modern ecological movement.

In a garden filled with light and suffused with the energy of new growth, the green pulse of life can be felt at its strongest. Whether we conceive of the natural growth force in terms of God, Mother Earth, biology, or a mixture of these, there is a living relationship at work. Gardening is an interchange through which nature gives life to our reparative wishes, be it turning waste into nutritious compost, helping pollinators thrive, or beautifying the earth. Gardening involves striving to keep pests and weeds at bay to provide nourishment in all its various forms – greenness and shade, colour and beauty and all the fruits of the earth.

The emotional significance of reparation tends to be overlooked in the world we live in today, but it plays an important role in our mental health. Unlike religious absolution, the psychoanalytic view of reparation is not black and white; instead, like a constant gardener, we need to rework various forms of emotional restoration and repair throughout life. Melanie Klein first recognised the significance of this through her observations of small children at play. She was struck by how often their drawings and imaginary games involved expressing or testing out destructive impulses that were then followed by acts of restoration in which they displayed feelings of love and concern and that this whole cycle was intensely charged with meaning.

Klein illustrated her thinking through a discussion of a Ravel opera called L’Enfant et les Sortilèges (‘The Child and the Spells’). The plot, based on a story by Colette, starts with a little boy being sent to his room by his mother for refusing to do his homework. In his banishment, he embarks on a rampage of fury, revelling in destruction as he trashes his room and attacks his toys and pet animals. Suddenly, the room comes to life and he feels threatened and anxious.

Two cats appear and take the boy out to the garden, where a tree is groaning in pain from a wound he inflicted on its bark the day before. As he starts to feel pity and lays his cheek against the tree trunk, a dragonfly whose mate he recently caught and killed confronts him. It dawns on him that the insects and animals in the garden love one another. Then a fight breaks out when some of the animals he has previously hurt start to retaliate by biting him. A squirrel is injured in the fray and the boy instinctively takes off his scarf to bind its wounded paw. With this act of care, the world around him is transformed. The garden ceases to be a hostile place and the animals sing to him of his goodness as they help him back to the house to be reunited with his mother. As Klein described: ‘He is restored to the human world of helping.’

Children need to see positive confirmation of themselves in the world around them and they need to believe in their capacity to love. Adults are no different. But when we get into a spiral of anger and resentment, as the little boy did with his mother, it can feel hard to let grievances go, especially if pride is at stake. What eventually allows these feelings to shift and bring about a return to more caring impulses, is something of a mystery and sometimes it happens indirectly. The garden setting helped the little boy develop a sense of compassion through making him aware of the vulnerability and interconnectedness of life and he was then able to reconnect with his mother. The recovery of generous and caring feelings sets up a virtuous circle leading to hopefulness in place of anger and despair. This aspect of our psychology is the mind’s counterpart to the cycle of life in nature, through which destruction and decay are followed by regrowth and renewal.

Plants are so much less challenging and intimidating than people and working with them can help us reconnect with our life-giving impulses. For my patient, Kay, gardening was a way of expressing nurturing feelings that were not caught up in the unpredictability and complexity of human relationships. The level of background noise falls away when you are in a garden and it is possible to escape from other people’s thoughts and judgements about you, so there is, perhaps, more freedom to feel good about yourself. This relief from the interpersonal realm of life can, paradoxically, be a way of reconnecting with our humanity.

Just as in the bringing up of children, we are never fully in control in the garden. Beyond providing the conditions for growth, there is only so much a gardener can do; the rest is down to the life force of the plants which will grow in their own time and their own way. That is not to say the gardener can be laissez-faire because care requires a particular form of attention, a tuning in that is about noticing the smaller details. Plants are highly sensitive to their environment and there are of course complex variables at play – temperature, wind, rain, sun and pests. Many plants rough it out regardless, but to garden a plot well means paying attention to them, noticing the first signs of poor health and working out what they need in order to thrive.