Internal Family Systems

Poetry and Internal Family Systems

I’ve been thinking about Internal Family Systems and how that model of the psyche, of the self, applies to healing in and through poetry. The IFS model draws on Carl Jung’s work, which drew on indigenous ways of knowing, so there’s a long tradition behind it about being conscious and being human. The focus in IFS is on the mind, but it’s also on the body because we are all embodied. No mind without body. No body without mind. Or minds, as Richard Schwartz, the creator of IFS, might say.

I’ve long understood that different voices were at work in my poetry, much more so than when I write a lyrical essay or, say, a feature story about health or medicine. In my earlier work, those voices were darker, for lack of a better word. Not that they were dark. They just lived in darkness. I couldn’t see them well outside my poems. I often thought I was channeling some experiences that were outside of me or that were part of the collective unconscious, which certainly can be the case.

I came to see, over a period of more than two decades, including the seven years I spent not writing poems, that what those voices were sharing was either what happened to them or their feelings about what happened to them. The “them” in question was me. Many of those things happened to me. My voices were what Schwartz calls parts, also known in other models as subpersonalities or ego states.

Poems gave me permission to write what I couldn’t face or completely understand or entirely integrate. I write poetry in a state that’s closer to meditation or sleep, so the door is at least somewhat open to parts of my experience and parts of my self that are otherwise sequestered.

I’m not talking about a pathology or a label like dissociative identity disorder. Schwartz says this having of and living with parts is the natural state of the mind and works well until trauma happens. Or traumas. Even then, no part is bad. They’re all trying to help. They all want to be heard, and they need to be heard. I keep typing heart instead of heard, as if parts of me know this going in, going toward them, is the heart of the matter.

I typically move fluidly with my parts now when I write poems. I think this is one reason I write so much. All the parts, well at least many of the parts, come to the table and follow my lead as I tell their stories. That’s my self, guiding these creative interactions, which makes the parts feel safe. Safety is exactly what they need.

We’re still working on how to be in the world, but we’ve got the poetry experience down. A couple of my parts are still in the shadows. They’re the most vulnerable ones and the ones I fear. There’s one I may feel disgust toward. We all have parts like that. The work is doing the work to talk to them and bring them closer to me, unshaming them and loving them.

I’m not sure Internal Family Systems has been written about in terms of trauma literary theory, but it should be. It’s another lens for understanding how and why poetry can help heal trauma. It rings true for me, like the bells I sometimes hear in downtown Toquerville that make their way across the creeks to find my body and set it to music.

Midnight Dana

Bryan Johnson has a part of himself that he calls Nighttime Bryan. Nightime Bryan overeats, doesn’t sleep well, and makes decisions that aren’t in his best interest. Studies show that we all have a version of this within ourselves, and that this part usually comes forward in the middle of the night during a mid-night awakening. The typical scenario is that we wake up during the transition from deep sleep to REM sleep, which also happens to be when we’re vulnerable to things like worrying, ruminating, and catastrophizing, as well as seeing ourselves and the world through a clouded lens, one that tends to exaggerates our negative traits, minimize our sense of self-worth, anticipate the worst in every situation, and fail to recognize anything positive. I call this our Midnight Part. In myself, I call this part Midnight Dana.

Let me introduce you to Midnight Dana. She’s a little different from Nighttime Bryan in that she’s trying to help. (I actually think Nighttime Bryan is trying in his own way to help Bryan, or at least to call attention to a problem, but that’s not how Bryan Johnson characterizes Nighttime Bryan.) Midnight Dana remembers things. She doesn’t mean to. She just does. Her body remembers. She’s a time traveler who can go to any point in the past where she’s needed, and by that I mean where her memory is needed. She’s important and necessary, but witnessing her deep knowledge and attempting to communicate with her is not easy.

I woke up at 3:38 a.m. trundled from sleep into wakefulness by a disconcerting dream that involved countless rows of girls’ dorm-room beds extending into the distance behind Vince McMahon, the resident assistant, who was standing in the foreground in a light-gray plaid suit waiting for all the girls to arrive.

Midnight Dana did not like that dream. She immediately thought about the semi-private dorm room she’ll be staying in at the summer residency for Pacific University if I decide to enter that program. The thing that terrifies Midnight Dana about this situation is the shared bathroom. Bathrooms have never been safe spaces for Dana, and Midnight Dana remembers what’s happened in them. It’s as if every cell in her body knows, even the ones that have turned over countless times since those abuses occurred. Midnight Dana is part of the institutional memory of Dana Henry Martin. She lives in the decentralized array of awareness that resides within my body. She also interacts with the world around her, responding to inputs from my waking and sleeping worlds and experiences.

Still frothy with sleep, I receded and Midnight Dana came to the forefront. She laid in bed as the bathroom memories flashed like View-Master stereoscopes, but she was also running. Her heart rate was fast and erratic. She was sweating. She took quick, shallow breaths. Her head suddenly hurt like hell. Midnight Dana was in flight mode.

By 4 a.m., Midnight Dana had made a slew of decisions that started with not attending Pacific University and ended with not writing poetry anymore. Midnight Dana made a plan to do nothing but sit somewhere and listen to birds for the next thirty years or so.

Midnight Dana and I are in conversation this morning. We’re talking about ways she can feel safe at the residency and keep writing poetry. What does she need? How can I advocate for her? I want her to know I see her, hear her, and appreciate her. She’s trying to keep me safe and also keep me from walking into a situation that could be incredibly difficult and painful. She’s going to be there, too, if we go to Oregon. I need to meet her where she’s at and advocate for that part of myself so I don’t become a fear-driven organism whose only option is to run fast and hard and away.

This is the basis of the Internal Family Systems model. We all have parts, and we all need to listen to those parts and bring them into Self. Our Midnight Parts can be teachers if we let them. We can bring them into our awareness and into our hearts while ushering our whole selves to, or at least toward, safety.

Midnight Dana is both an exile and a firefighter. She’s been ignored, silenced, and shamed—even by me—and she looks for quick fixes that will allow her to avoid painful feelings. She makes sense developmentally given my past, namely my childhood. I want her to have that life of listening to birds. And I want her to have so much more than that, including poetry, which is where she sings alongside me.