The Alexandria Papers Newsletter #64 | Dr. Alexandria Szeman 15 January 2023
How to Use Mindfulness for PTSD | VeryWell
Using mindfulness for PTSD may be a good way of coping. Mindfulness has been around for ages. However, mental health professionals are beginning to recognize that mindfulness can have many benefits for people suffering from difficulties such as anxiety and depression.
5 New Year’s Resolutions for Trauma Survivors | Psychology Today
Trauma survivors struggle to take care of their mental health as much as their physical health, but this should be prioritized in the new year. Unmet needs in childhood often manifest in adulthood, leading to unhealthy behavior patterns-but 2023 can be the year to start unpacking.
Do you need help dealing with sexual assault, rape, or incest? Call @RAINN ‘s Hotline 800.656.HOPE (4673) to talk to a trained staff member from a sexual assault service provider in your area. Don’t feel comfortable talking? Use chat/text instead.
When you are close to someone – a family member, a romantic partner, a longtime friend – you are likely to be fairly attuned to subtle changes in behaviour that could signal a shift in that person’s wellbeing. For many people, these changes are connected to eating.
If you’re a writer, chances are you have a stack of journals tucked away in the back of your closet, likely filled with memories, heartbreaks, and musings. Many of us as a means of self-care to process thoughts, feelings, and experiences. But have you ever created a journal solely for self-care?
Every year thousands of our readers vote for their favorite books of the year in the She Reads Awards. Find out more about the books that were nominated and see which book was voted the Best Memoir of 2022. The winner of the Best Memoir of 2022 is . .
30 Easy Bread Recipes for Beginner Bakers | Taste of Home
Baking bread is more popular (and easier) than ever! If you’re new to it, don’t be intimidated. Consider these easy bread recipes and become the baker you always knew you could be! Be sure to check out our ultimate bread baking guide, too.
Each night, standing in the hallway at the open / door of the bedroom, I see you lying in the / fading light, his arms around you, your head on his / chest, his lips against your hair, and I want to tell / you everything.
The Alexandria Papers Newsletter #60 | Dr. Alexandria Szeman 4 December 2022
Guided Meditation: Notice How Sadness, Loneliness, and Anger Show Up in Your Body – Mindful
Instead of trying to make difficult emotions change or go away, you can simply tune in to how they show up in your body, and see how they’re always changing on their own. When we’re caught in the throes of an emotion like sadness, loneliness, or anger, shifting our awareness into our body allows us…
7 Self-Care Practices Every Migraine Sufferer Should Know
A hangover headache is bad enough, but a full-on, out-of-nowhere migraine attack? What’s worse? If you are a migraine sufferer, no matter how long it lasted, you know what your brain and body can feel like after an episode. You’re tired AF, cranky, and probably feel like crying.
How to Actually, Finally, Truly Set Some Boundaries With Your Family This Holiday Season | WonderMind
If you’re dreading the holidays because they typically come with ~family drama~, I’d like to introduce you to the magical power of setting boundaries with family. You’ve probably scrolled past a TikTok or two about the importance of this powerful thing called a boundary…
We include products we think are useful for our readers. If you buy through links on this page, we may earn a small commission. Here’s our process. Trauma is easier to cope with when you have support, just like a broken bone is easier to set with a cast.
Keeping a Journal Isn’t Lame, It’s Self-Care | YourTango
At one of my very first Scholastic Book Fairs, I begged and pleaded with my mother to get the “Dear America” package. It was one of my favorite book series growing up, and it even came with a hardcover journal so you could add pages when you ran out.
Exercise for Mental Health: 8 Keys to Get and Stay Moving | NAMI
Mental illness has deeply impacted my life. I have experienced the flooding of anxiety and the drowning of depression. I have waged, and won, several battles with postpartum depression and been through loss and grief.
What Can We Learn From A 1794 Novel About Turning Points In Crime Fiction? | CrimeReads
Turning points are incredibly important landmarks in crime fiction. They are the peak or series of peaks we climb to, where everything shifts inside the story. These moments are when we realize nothing is what it seems. Once we reach them, whether it is the climax of the book or an earlier point of…
A Guide to the Essential Regional American Pizza Styles | FoodAndWine
Before the 1950s, most Americans didn’t know what pizza was. Arriving to the U.S. in the late 1800s, it was considered a cheap “ethnic” food, eaten mostly by marginalized Italian Americans in hole-in-the-wall restaurants or on the street.
I wish I had some magic secrets or shortcuts to share, but the truth is that food blogging is hard work. I receive questions about the subject fairly often, so I sat down to compile my best tips for food bloggers and ended up with an even twenty.
“Damn you,” cried the practically naked Charlton Heston as he fell to his knees on the beach in front of the half-buried Statue of Liberty. “God damn you all to hell.”
1968: the hottest film in our world was the sci-fi classic Planet of the Apes, where three astronauts crash-land on a seemingly deserted planet, only to discover that in this topsy-turvy world, the apes can talk, read, write, ride horses, and shoot guns, while the mute humans are beasts, herded and captured, enslaved and oppressed. The film had just hit drive-in theatres, where kids got in free. We went to see the movie with our parents, with our friends and their parents, with the kids we ignored in school and their parents. We went with absolutely anyone to see Planet of the Apes. Again and again and again.
All the neighborhood children were so enamored of the film that we’d memorized the dialogue and played Planet of the Apes every day at an abandoned construction site on the other side of the railroad tracks. Since the site was vast and filled with gigantic concrete culverts and miscellaneous construction materials, it really was like we’d landed on another planet. It was the perfect setting for our Planet of the Apes games.
The first thing we did each day was draw straws to see who’d get to be the apes and who’d be the humans. We had very strict rules on our Planet of the Apes. Only the apes were allowed to talk. The humans were allowed to grunt, point, and use sign language. Sometimes the humans would huddle together in a corner of the site and whisper, but if the apes caught them doing that, they got mad and hit the humans really hard. The apes got to be up on top of the concrete culverts, and the humans’ goal was to get all the apes off the culverts so the humans could be on top. It was a Planet of the Apes King of the Hill.
The apes were allowed to use pieces of board as weapons, but only if the wood didn’t have any nails in it. Sometimes the apes would pretend the boards were guns and make shooting noises, but none of the humans ever fell down when they did that, so the shooting was just gratuitous sound effects. Given their naturally less evolved status on this planet, the humans were only allowed to use rocks as weapons. More like pebbles, actually. The apes had only agreed to pebble-sized rocks after one of the apes hit a human hard enough to break open the skin on his knee and he threatened to tell his parents what had really happened and which ape had done it. The humans had to be extremely careful about how hard they threw the rocks at the apes, however, and on which part of the apes’ bodies the rocks landed. The apes got really violent if the rocks hurt too much.
Neither apes nor humans were allowed to hit someone on the head or face: our parents would know we’d been playing Planet of the Apes at the construction site, and they’d all forbidden it. The apes could hit the human with their stick-guns on the back or butt. The humans could throw the rocks at the apes’ legs, arms, and backs.
The most important rule in our world was that nobody had to be a human two days in a row. It was only fair.
One day, one of the apes found a long section of rope and decided that each of the humans needed to have a choke-collar and leash, similar to the leather collars with leashes the humans wore in the film when the apes were transporting their captives from one place to another. The rope choke-collar and leash worked fine for a while, though the apes got yelled at a few times for pulling too hard or wrapping the rope too tightly.
Then Bobby Webster, who was human at the time and who fancied himself a young Charlton Heston, decided that humans had evolved sufficiently to develop speech and to have an intelligible language. In fact, according to Bobby, humans had become so evolved, they understood English, which was known to be the apes’ language.
“Take your dirty, stinking paws off of me, you damned dirty ape,” said Bobby as he ripped off his choke-collar and leash, shoved his ape-guard down, and raced up on the few apes already on the culverts.
The rest of us humans got so excited that we immediately learned to speak English and pretty soon had all the apes defeated. We shouted a thundering victory song as we stomp-danced on top of the culverts.
The apes were furious.
They insisted that humans weren’t allowed to talk on this planet. Ever.
Bobby Webster pointed out that Charlton Heston had talked partway through the real movie, so we, too, should be able to talk. Sometimes. Of course, the rest of us humans agreed.
The apes didn’t.
That day, the fighting on the Planet of the Apes was real.
When we got home, cut and bruised, bleeding and crying, our mother was livid.
“You’ve been playing Planet of the Apes again, haven’t you?” she said as she knocked us each on the side the head. “How many times have I told you to stop playing that? Somebody’s going to get hurt.”
None of us was allowed to eat any supper that night — or for several nights after — and she refused to let us clean our cuts with anything but our own saliva, saying that’s all we’d have on our Ape-planet. Two days later, when my little sister Amy cried and begged not to be forced to go to our father’s house for her scheduled weekend visit, complaining that she didn’t like sleeping in his bed with him, our mother said Amy had to go: it was her punishment for playing Apes. After my little brother Jimmy Lee tried to hide from his own father — Amy’s and my new stepfather — in the basement one afternoon, Jimmy Lee came up to dinner with bruises on his face and neck, worse than anything he got on the Ape-planet. When my stepfather crept into our bedroom that night and hurt me more than usual, I wanted to say, “Take your stinking paws off me,” but I couldn’t. Afterward, he said it was all my fault, for playing Planet of the Apes when we weren’t supposed to.
Of course, none of that stopped us from playing Planet of the Apes.
After all, on that planet, sometimes we got to be the apes.
read an excerpt (chapters 1-6) from my memoir
and related chapters that are not in final, published version
His real name was Daniel David Davison III, but nobody called him that except Sister St. James and the principal every time he got sent to her office for disrupting class. He used to make fun of his own name all the time, saying, “3-D. I’m 3-D,” erupting into uncontrollable laughter. Since we were only third-graders, we didn’t get the joke at all, and he didn’t like to be called Daniel David Davison III, so we called him “Glue-Boy.”
First graders had to use paste spooned out of a communal tub. Second graders were allowed to have individual containers of paste that had to be stored on the shelves when not in use. As third graders, however, grown-ups that we were, we got to have our very own bottles of Elmer’s glue, which we were allowed to keep in our desks, and Daniel David Davison III could do amazing things with Elmer’s glue.
All day, every day, he’d paint elaborate glue-tattoos on the back of his hands and forearms. The glue was his paint, starkly white against the perpetually darker canvas of his skin. He created dragons and gargoyles, knights and castles, vampires and werewolves from his fingers to the edge of his stiffly ironed, short-sleeved white shirt. I sat beside him, in the last seat of the third row, and every day, he hunched over his bare desk, concentrating so hard on his fantastic designs that the tip of his tongue stuck out while the rest of us watched in silent admiration.
Sister St. James would be writing our lessons on the board or gazing out the windows at the river on the far side of the church next door, or sitting at her desk with her eyes closed while we did our reading assignments, and Glue-Boy would be covering all the bare skin on both his arms with swords and sorcerers, dinosaurs and treasures, pirates with ships flying flags with skull-and-crossbones. After he finished, he’d put the bottle of Elmer’s down on his desk, hold his arms out in front of him till all the glue dried, then turn and show us his creations.
Any time that Sister turned around from the board or her reverie at the windows, or woke from her afternoon nap and saw us all watching him instead of doing our work, she’d rush back to him, her ruler slashing the air. Glue-Boy protected his creations by bending forward over his desk, stretching his glue-covered arms beneath as Sister beat him mercilessly with the ruler. Then she’d march back up to the front of the room, collapse in her chair, and order us to put our heads down on our desks as punishment. After a few minutes had passed, we’d surreptitiously look over at him, and he’d smile, his head and forearms held high, not a single one of his glue-paintings destroyed.
One day on the playground during recess, I complimented Glue-Boy on his art. He nodded without even looking up at me, so I feared I’d annoyed him. Occasionally after that, however, he would find me on the playground and show me his latest work. As the year progressed, the colors got brighter and the designs became more complex. I thought all of them were beautiful, even if I didn’t know what they were.
Even when he started using paint instead of glue, covering his face and arms with gorgeous colors, he never lost the name “Glue-Boy.” Though Sister St. James ordered him to the Principal’s office every single time he came in with his face painted, though the Principal called his parents and demanded that all his paints be confiscated, though his desk in the classroom was finally isolated in the corner so that no one could be close to him, nothing stopped him from painting. The morning he came in with his hair dyed a multitude of colors, we gathered around him in awe while all the teachers and the principal ranted and threatened.
He was wonderful.
He was our hero.
I suppose we all suspected that, eventually, his body would not be a large enough canvas, so when he pulled a box of colored chalk out of his coat pocket during recess and began decorating the playground itself, no one seemed too surprised. Even the teachers had long since stopped trying to control him: we heard that his parents had threatened to withdraw him from the school and send him somewhere more exclusive.
And the teachers didn’t try to make me skip rope or run relay races with the other girls: they accepted that it was my job to hold Glue-Boy’s colored chalks while he worked. By the time the Monsignor came over from the church to watch, everyone had accepted that this was just the way of the world: this was Glue-Boy’s purpose in life. The principal and the Monsignor stood by in silence, watching as the colored chalk covered the exterior walls of the elementary school, in ever more fantastic and elaborate designs, as high as Glue-Boy could reach.
On the day I told Glue-Boy about my father and my divorced mother’s boyfriend, about what they did to me in the basement, in the garage, in my own bed late at night when my mother was asleep, Daniel David Davidson III offered to pour endless bottles of glue down their noses and mouths and throats and to keep pouring till the glue dried and hardened.
“Then,” he said, “they won’t be able to hurt you anymore.”
Glue-Boy was the first person who ever offered to protect me.
That made him my first love.
read an excerpt (chapters 1-6) from my memoir
and related chapters that are not in final, published version
Usually considered to have originated with Horace Walpole’s novel The Castle of Otranto (1764), which was subtitled “A Gothic Story,” Gothic fiction is literature that attempts to combine elements of romance, mystery, and horror — without becoming either too fantastic or too realistic. Initially featuring decaying castles, curses, ghosts or other supernatural creatures and events, madness, murder, and “oft-fainting heroines,” Gothic fiction was hugely popular entertainment.
About a generation after Walpole, Ann Radcliffe introduced the brooding Gothic villain in her novel A Sicilian Romance: a tempestuous, moody, sometimes secretive, and extremely passionate male who usually encounters a heroine that completely upsets his life. Later this type of “villain” would be called the Romantic era’s “Byronic hero.” Radcliffe also introduced more independent heroines to Gothic fiction with her bestselling The Mysteries of Udolpho. Though Radcliffe’s heroines are still pretty helpless and faint far more than anyone I’ve ever encountered, they inspired “gothic feminism” which critics claim the author herself expressed as “female power through pretended and staged weakness.” Further, Radcliffe changed the infant genre of Gothic fiction by introducing the “explained supernatural,” where all the apparently supernatural events, from ghosts and moving furniture to strange knocks and cries in the dark, turn out, eventually, to have perfectly reasonable, natural explanations.
Gothic fiction and its various, evolving components spread into the literature of the Romantic era, appearing in the poetry of Keats, Shelley, Coleridge, Byron, and Poe. In the Victorian era, Gothic elements were more prominent in fiction, and are found in the work Charles Dickens (A Christmas Carol), Bram Stoker (Dracula), Robert Louis Stevenson (Dr. Jekyll and Mr. Hyde), Oscar Wilde (The Picture of Dorian Gray), Mary Shelley (Frankenstein), Emily Brontë (Wuthering Heights), and Charlotte Brontë (Jane Eyre).
Many of these Victorian authors added strong moral elements to their Gothic fiction, producing novels that questioned everything from man’s relationship with newly developing technologies and medical advances to man’s responsibility for feeding and educating the poor. Gothic literature became more than entertainment to pass the long hours of a dark and rainy night: it explored the meaning of life, morality, social responsibility, and man’s relationship to the Divine.
As Gothic fiction spread to authors in America, especially in the South, it became a sub-genre called Southern Gothic. Authors like Faulkner, Caldwell, McCullers, O’Connor, Capote, and Percy examined family relationships, sexuality, poverty, race, and the Southern myths of an idyllic antebellum past. Southern Gothic is filled with
deeply flawed, disturbing, or eccentric characters… ambivalent gender roles, decayed or derelict settings, grotesque situations, and other sinister events relating to or stemming from poverty, alienation, crime, or violence.
With its particular focus on the South’s history of slavery, Southern Gothic became a vehicle for fierce social critique.
Harper Lee’s Pulitzer Prize-winning novel To Kill a Mockingbird is a classic of both American fiction and Southern Gothic. A coming-of-age story set in the fictional “tired old town” of Maycomb, Alabama from 1933-1936, during the Great Depression, the novel examines everything from family relationships and mental health to societal responsibilities, poverty, violence, and crime. The 1962 film version, adapted from the novel by Horton Foote, eliminated some of the novel’s childhood adventures to concentrate on the aspects of its storyline that make To Kill a Mockingbird so important to American literature and film: the ugly and intractable racism between whites and blacks, a bigotry and intolerance that still exists over most of the country.
The film’s (unseen) narrator looks back on her six-year-old self and on the events that changed her from an innocent to a more mature child. In 1933, Scout (Mary Badham) and her brother Jem (Phillip Alford) live in Maycomb, Alabama with their widowed father Atticus (Gregory Peck).
Together with a visiting neighbor, Dill (John Megna, modeled after Harper Lee’s lifelong friend Truman Capote, who spent summers next door to the Lees with his aunts), Scout and Jem roam around the neighborhood and create their own adventures.
Atticus agrees, but despite his attempts to shield his children from the consequences of his decision to represent a black man in a racially charged crime, Scout and Jem soon become involved in the racial “war” brewing around them.
In particular, the father of the ostensible rape victim, Bob Ewell (James Anderson) tries several times to intimidate Atticus into quitting the case. When that doesn’t work, Ewell threatens violence against Atticus and his children.
Though the children continue to find “gifts” in the hollow of a nearby tree, these gifts and their former adventures pale in significance to the events surrounding the crime concerning Tom Robinson and Mayella Ewell.
By the time the trial starts, most of the town is divided and angry. Though Atticus warns his children to stay away from the courthouse completely, Jem refuses to be barred from the biggest event in the county, and Scout refuses to be left behind at home if Jem and Dill are going to the courthouse.
Judge Taylor presides as the District Attorney (William Windom, in his film debut) badgers witnesses and makes his opinions about Tom Robinson’s guilt clear. Despite the fact that viewers can have no doubt whatsoever about the jury’s eventual verdict, the courtroom scenes are intensely riveting, especially when Atticus cross-examines Mayella herself.
Though the verdict is not in question, Mayella’s father, angry at the Atticus’ not-so-subtle accusations of incest and child abuse, provokes Atticus repeatedly in an attempt to draw him into a physical confrontation. Then, he decides to provoke Atticus by going after his children.
Nominated for 8 Academy Awards, To Kill a Mockingbird won three Oscars:
Best Actor for Gregory Peck, Best Adapted Screenplay for Horton Foote, and Best Art Direction (set design, Black-and-White).
Everyone should see this film, though children under 12 may need to be cautioned about the subject matter and the language as this film deals openly with rape, clearly suggests incest, and uses language appropriate to the time and place of its story.
Be sure to watch the black-and-white version of To Kill a Mockingbird, not the colorized one: those who colorized it obviously completely missed the symbolism behind the story’s being filmed in black-and-white instead of in color. Available for rent ($2.99-3.99 SD/HD) from Amazon,iTunes,YouTube,GooglePlay, and Vudu.
*As an Amazon Associate (also called “Affiliate”), I may earn a small commission (at no additonal cost to you) if you click through any of the affiliate product links and make a purchase. Posts with these affiliate links are indicated at the top of the post in which they appear. Read more: Disclosure.
Copyright 2012-2023 by Alexandria Constantinova Szeman, Ph.D. All rights reserved. No content may be copied, excerpted, or distributed without express written consent of the author and publisher, with full copyright credit to the author. Please, don’t support the piracy of Intellectual Property.
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