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ARTICLE
Explorations of Depression
Poetry and Narrative in Autoethnographic
Qualitative Research
Heather L. Gallardo
University of North Carolina at Charlotte, USA
Rich Furman
University of Washington, USA
Shanti Kulkarni
University of North Carolina at Charlotte, USA
ABSTRACT
KEY WORDS:
autoethnography
depression
poetry as
research
postmodern
research
287
AUTOETHNOGRAPHY
The tradition of autoethnography as a method of legitimate inquiry is steeped
in qualitative research (Philaretou and Allen, 2006). Autoethnographies are
written accounts about life experience providing rich, full, detailed narrative
and insight from the perspective of the person who is living and experiencing
the researched phenomena. Previous scholarship suggests that autoethnography
is a particularly useful strategy for understanding private or taboo topics (Gelles,
1978; Ronai, 1992). The investigation of ones own lived experience, such as
through autoethnography, allows us to gather data that might be missed with
more traditional methodological means (Philaretou and Allen, 2006).
Writing autoethnographically allows for voice on issues based directly on
ones own experiences. This permits the examination of experiences previously
ignored or marginalized (Allen, 2000). It should also be noted that many scholars
suggest both the significance of this source of knowledge as research as well
as the healing or self-help of the researcher (Allen, 2000; Dilworth-Anderson
et al., 1993; Kreiger, 1991). Simply, autoethnography extends our understanding about the phenomenon under study from a different frame (Wall, 2006).
Initially a term used by anthropologists to describe studies of an individuals own culture, autoethnography has evolved and broadened in use across
many social scientific academic disciplines including both communication
studies and social work (Ellis and Bochner, 2000; Hayano, 1979). Perhaps Behar
(1996: 174) best describes it as a process,to map an intermediate space we cant
quite define yet, a borderland between passion and intellect, analysis and subjectivity, ethnography and autobiography, art and life. Pelias (2003: 372) suggests
autoethnography, lets you use yourself to see culture.
Despite debate in the social sciences to the contrary, our lived experiences affect what we observe, how we observe it, and how we interpret and
examine it (Smith, 2005). Autoethnography allows researchers to study their
own experience, providing a unique perspective, complementing and expanding related research. Autoethnography differs from autobiography in its focus
on drawing connections to cultural groups of experiences, thereby helping to
illuminate the social constructions of the phenomena being investigated.
clients that will be of use to its audience, and will portray the experiences of
research participants fully. Intuition, subjectivity, and the emotional sensitivity
of the researcher are seen as valuable tools in the research process. The insights
of trained and skilled researchers are valued, not hidden in a false cloak of
objectivity.
Willis (2002) describes this research as expressive in nature, contrasted
with analytical research. In expressive research, the goal of the inquiry is to
expand and contextualize meanings, to value and cherish the subjective, while
in the analytic tradition the goal is to reduce and simplify meanings. Many
studies have utilized personal, expressive poems as qualitative research. Furman
(2004) utilizes the prose poem as a means of exploring the nature of male
friendships. His poems are autoethnographic in that they are concerned with
the cultural norms and rules that interfere with, and facilitate, his relationships
with other men. Furman (2005) also utilizes personal poems and narrative (the
method of this study) in his exploration of the death of his companion animal.
Poetry and narratives present multiple levels of the same phenomenon. The
narratives illuminate, expand, and coterie the meaning. In a very real sense, by
reflecting upon the data after the fact and providing narratives, the author
provides us with a type of member check. Similarly, expressive or creative poems
are used in his exploration of step-fatherhood (Furman, 2003). In this work, he
presents poems and discussion that explore his changing roles, and the manner
in which he constructs his identity as a new parent.
Poetry has held other roles in quality research. For instance, several authors
have utilized poetry as a means of data representation in traditional qualitative
studies. For instance, Furman (2006) demonstrates how using poetic forms and
structures can provide different emphasis when representing in-depth interviews.
Poindexter (2002) uses methods borrowed from linguistics as a means of coding
and representing interview data of HIV caretakers.
It has been argued that poetry is an idea medium for capturing the lived
experience of complex, emotionally laden experiences (Butler-Kisber, 2002).
Characterized by compression and an economy of words, the lyric poem has
the capacity to meet the important qualitative aim of capturing the depth of
human experience, while also delivering the succinctness that quantitative
researchers value. Through the use of poetry and other forms of expressive
writing in research, the research seeks to, grasp an objective [rather than] to
analyze and subdue it. It attempts to hold it in consciousness, to allow its reality
and texture to become etched on the mind (Willis, 2002: 4).
Poetry has been used to document the depths of various psychosocial
phenomenons. For instance, nursing researcher Oiler (1983) used poetry to
explore the experiences of nurses in practice. To her, art and poetry are valuable
means of exploring human experience.
Art forms allow us to reflect on experience with at least some of the habitual
meanings held in abeyance. The art form itself gives the expression a structure,
calling on experience on its own terms. Images and symbols in poetry speak to
us about experience. Since it is vision that gives us the best understanding of
experience, the words used in poetry to express reality give us a clearer image
than the precise language of science. (Oiler, 1983: 81)
Poetry encourages an empathic relationship between the author and its audience.
Denzin (1997) encourages the use of alternative forms of data representation
and exploration as a means of evoking emotions in consumers of research.
Through the use of poetic devices such as metaphor, symbols, imagery, cadence,
the poem allows the reader to develop their own relationship to the work.While
a poem usually starts with one persons experience, it attempts to move beyond
the N of one to the N of many. That is, poetry seeks to be what has been
termed metaphoric generaliziblity (Stein, 2004). Not generalizable in the statistical sense of the world, but generalizable in that it helps stimulate an empathic
understanding in the reader; they are able to locate themselves in the poem,
and when there is difference, they are able to transcend the poem and create
that which is their own.
METHOD
The following four poems by each author were written in direct response to
the experience of depression or dealing with a spouse experiencing depression
on different occasions over a period of several years. Here, poetry and reflexive narrative analysis are used to gain a greater sense of the lived experience of
depression. On two separate occasions the first two authors reflected on each
of their four poems and wrote an analytic autoethnographic narrative response
to explore how understanding is subjectively embedded within the context of
a different time and space. Narrative reflections of this type have two purposes,
in that they serve both as data and as data analysis. That is, readers may utilize
the narrative reflections as data in understanding the authors responses to subject
matter, which is autoethnographic in nature. Additionally, the reflections serve
as a type of analysis, in that they clarify and expand the perspective of the
authors. This type of data analysis emanates from an expressive agenda, in which
the purpose of analysis is expansion, rather than contraction. Approximately six
months later, the third author of the study added responsive reflections in order
to add an additional layer of data and analysis. These reflections can be found
in italics. Those more comfortable with more reductionistic approaches to data
may wonder about the generalizablity of this type of data. The authors acknowledge that this data may not be generablizable, but instead may sensitize the
reader to themes and issues that have been explored. Indeed, exploration is the
key verbiage when discussing this type of data.
Studies such as this may be viewed as exploratory in nature. Insights and issues
discovered from autoethnograpahic studies may further be explored and tested
by other research methodologies, or utilized by clinicians to sensitize them to
potential practice issues. (Furman, 2005: 35)
think of that boy. It is me, it was me, but it feels like a different person. What
would I want to say to him? Perhaps, that he will find love. That he will find
many people to explore this world with. And perhaps, that he will learn to love
being alone.
*
It is interesting how much we change and also how much we stay the same.
What is the same? At times, when I feel down, I hide under the covers. Now
though, I am not afforded the luxury of wallowing very long. I have a family,
things to do, work, responsibilities. Sometimes I wish I could linger in that place
longer, allow myself not to sink into depression, but experience the full and
bittersweet nature of life. Also, I am so much more comfortable being alone,
almost cherish being alone.
The perspective of time and distance and reflection viewing options now that did not
exist or were not perceived at the time. Do we ever fully heal from our deepest wounds
is there always a tender spot? How can a future self relate to a past self to relate, to
offer compassion, to try understanding in a more complicated, more detached way? The
authors analysis focuses on understanding how this experience relates to the person who
exists now the enduring self. The sense of contamination for ever having been in a room
with rats does it make us unfit to teach others, be respected as a colleague the stigma
of depression or the self-loathing (too strong a word) that is its symptom.
The best years
And your sitting on your
old filthy sofa chair,
and the dogs
watch you suspiciously,
the raven outside
watches you suspiciously,
roaming through all the possibilities,
all those things to do,
that you wont.
the adventures, poems, women.
you will not meet any of them,
in nights not of the right kind,
of madness.
nope, never, not for you.
you will lie back with your feet up,
the hours will pass.
the years float away like cardboard soul.
these are the best years of your life.
*
A pop song came into my head, one that deals with transition and change. When
we open one door, we close another. This is one of the tragedies of life, one of
the tragedies that make each day special: we only have one life to live and cannot
possibly do all that we want to do. Sometimes, all the possibilities can become
overwhelming, and we do nothing. How different it is now though, that I feel
so much passion for my work, how clear I am about my path. Yet, it lingers, that
feeling at times, when I wonder if I have chosen well, if I choose well. All there
is to do is live.
*
I am so different now. I cannot almost imagine allowing myself the luxury of
not pushing though feelings of sadness. I give myself a day, two days maybe,
but then, it is back to work on my goals. I rationalize that the feelings will
accompany me on the journey that somehow I am able to both DO and FEEL.
My work is so central to my sense of self, to whom I am.
The self-criticism in this poem is scathing and oppressive, there is no self-compassion
whose voice was this first. To be looked upon with suspicion by companions (dogs) and
the raven outside there is no trust of self internal or external. The reflection comes from
a different place one of focus that pushes through the occasional self-doubt, echoes of that
self-doubt without the self-criticism.
I loved her once, for all the wrong reasons
And then there was the time
she went into rehab. She had a
two week bender split her head
on the wall bled on the dogs
at the hospital doctor said
might be brain damage might
never be the same again
did not know she popped more pills
minutes after her blood test.
Things had gotten this bad.
Spent the night dreaming of far
away places with parrots and palms
white sands pure and safe
lounging lazily in the breeze now
taking care of addicted now
brain damaged a weight that
I had loved once this was not
the way it was supposed to be.
*
Looking back years later, I feel a sense of longing towards those times. Not the
times, but wishing I could access the feels that I felt. Why? Perhaps it brings me
back to when my dogs were still alive. I think this is the hardest part of moving
on emotionally from experiences. It is as if when we let go of difficult feelings,
when we are moved passed them, we move passed, in a sense, those we love.
And if we can do that to those that we loved, clearly they can do that in relation
to us. And then, what did our love really mean? What did we really mean? Are
we ultimately replaceable? Replaceable parts in the negatives of others? This is
a difficult thought to contend with. I need a refill on my tea.
*
Looking at this poem from a somewhat detached space, I wonder about the
actual feelings I had at the time. I use the classic poetic norm: show, do not tell.
By showing the contest and not directly explicating the feelings, the poem allows
the reader to place themselves into the poem. They are allowed superimposing
their own feelings onto the work in empathic response. To me, this is the power
of poetry. It speaks about one, but can speak to many.
This poem has an ethereal detachment that feels different from the earlier poems. It seems
more documentary, perhaps as the author reflects a meditation on something more universal
than an emotional confession.
Capybara Depression
ten year old giggles pleading
to know the whereabouts
of Lake Titicaca
and pretending geography
as enthralling as sleep deprived clowns on yerba matte,
or titillated paparazzi at a debutante crisco ball,
chanting, mesmerized, euphoric,
Titi caca Titi caca Titi caca
the cadence of a stretched eight track tape
droning the Stylistics in a 72 Coop De Ville
down interstate ten between south central and nowhere,
but this tid-bit of joie de vivre, this luminescent morsel,
this savored crumb in a stranded galley, starving,
is merely a smooth aqua glass shard
on an oil soaked shore,
as May spins downward
a bent drill bit through pewter,
and depression the shadow of a looming balsa dog,
and four am hypnogogic breathing anxious
and sugar pine ears absorb the itch
of the dog stained couch
The following four poems were written at different points in time in reaction
to the challenges the first author faced as a non-depressed person being married
to someone experiencing extreme clinical depression, who was unable and
unwilling to seek treatment. These poems represent my struggle to understand
and cope with his emotions and my own emotions in response. They demonstrate the continuum and changing response one can have as a loved one
*
The Tentative Step describes the internal conflict I felt in attempting to put my
marriage back together, overcoming, forgiving and facing, the infidelity, the lies
and the turmoil they had caused to my marriage and family life. It is easy to see
my deep confusion at what to do, as well as my understanding that in order to
move forward in our relationship, my husband and I were required to face what
had happened, why it had happened and we each had to decide whether to reinvest in one another and a deeply troubled relationship. I did take a tentative
step to reach out to him and restore our friendship and marriage. In retrospect,
I believe it was, indeed, the right decision, despite what I now know.
*
This piece always makes me think about trudging through mud and sometimes
thats what going through relationships feels like . . . wading through all the junk.
And sometimes we get through it, sometimes we get stuck, and sometimes we
just give up the trudging altogether. I spent much of my life wading through
the makings of life and never feeling as though I was making any progress. Interacting with someone experiencing depression is like trying to make it out of
the mud with someone who feels stuck in the mud. It was exhausting and difficult and a struggle most days, despite my loving him.
The stillness of indecision is in such contrast with the emotional struggle of making the
right choice. Tentative seems like such a light, uncertain word compared to the fortitude
that it takes to trudge and persevere through something as difficult as staying in a painful
relationship as the author describes in her reflection perhaps the difference between action
and thought or commitment.
Despair, Like a Cloud
Get out of bed,
I want to scream!
Laying there wont make it better. . .
Or will it?
I dont really know,
Cant really relate,
To wanting to cry ceaselessly,
Deeply as though sorrow rains down.
Dont get me wrong,
Ive been really sad and distressed,
Cried buckets of tears,
But nothing that continues,
Day into night,
And night into day,
Unable to get up,
Yet not sleeping at all
We move about,
In the house and the world,
You deeply hidden within your wall,
And all I can feel is that despair
Like a cloud hanging over,
The relationship we have.
I am drawn to break free,
Escape I feel I must
From the endless depression,
You feel in your soul.
I need to breathe,
Yet loving you so,
I feel conflicted and torn,
Damaged and worn.
Finally, I move forward
And I glimpse the sunshine
I delight in its warmth, while
Recognizing my loss,
I take tentative steps and
Hope and pray that someday,
You too will find the sun in the sky
The clouds will depart
And you will be smiling inside and out.
*
In this piece, we see a continuation of The Tentative Step, written over three years
later. Here, though, I have made a different choice, taken a different path, and a
step in another direction. Despite the internal conflict and the marital conflicts,
restoration is present. Moving in the direction of light and air, warmth and
healing. While, this does signal the end of my marital relationship with my
husband, whom I do love deeply; it also speaks of the hopes I have for him.
The positive post-script is that he is now getting treatment for his depression
and is working hard in counseling and on his sobriety. For that, I am most
thankful and believe deeply that he too will find peace from the extremes of his
depression and the daunting trails down which he has traveled in the past.
*
My feelings about this poem now are reflective of my state of mind now. I feel
a huge sense of relief that I made it through this relationship, I am better for it,
and recognize the difficulty of what I have been through. I often feel like a
butterfly that has made the successful transition from chrysalis to a beautiful
creature changed by the process. Yet, I still hope that one day, he will come to
know this place, too.
This is a hopeful poem to me about letting go and the redemption that may be available
to each person. It reinforces the idea that healing is indeed an individual choice that you
can only make for yourself in your own time. It makes me think of freedom someone
setting themselves free and allowing the other to be free as well to succeed or fail by their
own devices.
1 The authors are aware that this notion of depression greatly differs from clinical
depression, which is a severe mental health disorder that can lead to severe social
dysfunction. We do not wish to minimize the potential severity and consequences
of clinical depression, and encourage all those who suffer from it seek appropriate
supports.
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Rich Furman, MSW, PhD is Associate Professor and coordinator of the Master
of Social Work program at the University of North Carolina at Charlotte. Dr
Furmans books include Practical Tips for Publishing Scholarly Articles: Writing and