Warrior I

Originally posted on Your Story Doctor:
1. Dad’s always made it clear that we’re nothing more than caged rats caught inside a spinning wheel. He once clutched an empty bottle of scotch to his chest and said, “We all need a poison of choice to get us through how cruel life is.” Not knowing what…

Writing Core Wounds IV

Originally posted on Your Story Doctor:
Continuing on from Writing Core Wounds III. Accessing the story of my core wounds through fiction Writing the story ‘Warrior’ gave me the space, structure and power to change things enough to make it possible for me to articulate my emotional world. It was actually through writing this story…

Writing Core Wounds III

Originally posted on Your Story Doctor:
Continuing on from Writing Core Wounds II. The past shadows us until we shine light on it A splinter that doesn’t get removed, becomes deeply embedded, increasingly sore and begins to infect its environment. The splinter, regardless of how long it is stuck in the body, always needs to…

Writing Core Wounds II

Originally posted on Your Story Doctor:
Continuing on from Writing Core Wounds I. Knowing the stories informing a core wound is key Adults with parts still stuck in the earlier stages of development due to childhood wounds are in those areas, very much still children lacking the resources necessary to progress in helping themselves. It’s…

Writing Core Wounds I

Core wounds result from childhood experiences that emotionally, physically and psychologically disturb or injure the developing self. During the formative years of human development, the ‘sel… Source: Writing Core Wounds I

ARE YOU STUCK IN YOUR STORY?

A common obstacle that gets in the way of expressing one’s story is not knowing where to start or how to go about piecing it together. Instead of working with the cliche to “start somew… Source: ARE YOU STUCK IN YOUR STORY?

Trauma, Fiction and Ethics (Part 4)

Continued from Part 3     Differences between Life and Fiction: Life has many threads and potential stories whereas fiction focuses on one thing and unfolds according to this logic so the story world becomes a seemingly complete entity with one nuanced preoccupation. A novel obsesses over a single theme, problem or question. It keeps…

Trauma, Fiction and Ethics (Part 3)

Continued from Part 2 In this Trauma Fiction and Ethics series, I look at the ways in which fiction can give the permission, possibility and safety required to speak. To break through the silence that threatens to drown the core sound trauma survivors continue to hold somatically (physically and symptomatically) within the body and soul…

Trauma, Fiction and Ethics (Part 2)

Continued from Part 1   Transcript to the lecture written for the Institute of Koorie Education 17th August 2016. Dr Angelina Mirabito The Problem of Telling Trauma Stories: The body is the primary place or landscape in which traumatic experience is remembered in disorganised fragments re-experienced outside linear time. Consequently, the creative component to my…

Trauma, Fiction and Ethics (Part 1)

Transcript to the lecture written for the Institute of Koorie Education Presented 17th August 2016 Dr Angelina Mirabito White Female Caucasian Perspective and Approach to Telling a Trauma Fiction: My story and approach to writing trauma fiction is the effect of my white Caucasian Western female experience. It’s a product of complex childhood trauma including…