I’ve been either studying, researching, or teaching psychology since I was 16 – but before that, I was a reader. I have always been drawn to books that pose fundamental questions about the mind,and to this day I still go back to fiction and non-fiction that can generate ideas and hypotheses for new experiments. I’ve even used fictional stories in brain-scanning experiments to explore how the mind represents voices and characters: our findings show that we are experts at automatically simulating both the sound and the intention of other people when they talk in a story (even when the stories are very simple ones).
I wrote...
Presence: The Strange Science and True Stories of the Unseen Other
Presenceexplores one of the most curious experiences known to humankind: the universal, disturbing sense that someone or something is there when we are alone - the feeling of an unseen presence. What does this feeling mean and where does it come from? And how can we even begin to understand a phenomenon that can be transformative for those who experience it and yet so hard to put into words? The answers to these questions lie in this fascinating exploration through cutting-edge research in contemporary psychology, psychiatry, neuroscience, and philosophy.
A riveting and emotional journey, Presence takes us alongside Ernest Shackleton's expedition crossing South Georgia in 1916, to meet mediums and robots and step through real, imagined, and virtual worlds.
My book starts with a series of conversations with people who have psychosis and hear voices. Some people described to me a particularly unusual experience: the feeling of a voice being there, even when it wasn’t speaking.
As an undergraduate student one of the books that first got me thinking about these topics was Richard Bentall’s Madness Explained. It really opened my eyes to the possibilities of the mind and how we can think about experiences like hallucinations without necessarily pathologizing them.
This book was my gateway to then learning about things like the International Hearing Voices moment, which argues against an overly medicalized understanding of unusual experiences like voice-hearing. My book is quite wide-ranging, but I’ve tried to retain some of the ethos ofMadness Explained in how I’ve approached the world of uncanny presences.
THIS BOOK WILL EXPLAIN WHAT MADNESS IS, TO SHOW THAT IT CAN BE UNDERSTOOD IN PSYCHOLOGICAL TERMS, AND THAT BY STUDYING IT WE CAN LEARN IMPORTANT INSIGHTS ABOUT THE NORMAL MIND. THE BOOK WILL ARGUE THAT TRADITIONAL APPROACHES TO MADNESS MUST BE ABANDONED IN FAVOUR OF A NEW APPROACH WHICH IS MORE CONSISTENT WITH THAT WE NOW KNOW ABOUT THE HUMAN MIND. OVER THE LAST CENTURY OR SO IT HAS BECOME SO COMMONPLACE TO REGARD MADNESS SIMPLY AS A MEDICAL CONDITION THAT IT HAS BECOME DIFFICULT TO THINK OF IT IN ANY OTHER WAY. BENTALL ARGUES INSTEAD THAT DELUSIONS, HALLUCINATIONS…
Some of the most famous felt presences are those that occur in survival situations under the name of the “Third Man”.
The name comes from a line inThe Wasteland, by T.S. Eliot, in which he recalled the story of Antarctic explorers being accompanied by a phantom figure. Tat story was Ernest Shackleton’s: at the end of the ill-fated Endurance expedition, Shackleton experienced something like a felt presence when crossing the interior of South Georgia Island to save the rest of his crew.
He recounts the story of the whole expedition in South, and it’s an amazing read. When I was writing my book, I was really struck by how good a psychologist Shackleton was: he was constantly trying to understand and motivate his crew, while being acutely aware of the impact of the situation and the environment around them.
At several points he directly comments on the hallucinatory nature of Antarctica – almost as if he already knew what was coming at the end of the mission.
First appearing in 1919, “South: The Endurance Expedition” is the gripping account of those who traveled with Sir Ernest Shackleton on his third expedition to Antarctica. In August1914, Shackleton set out with a crew of twenty-eight aboard the ship “Endurance” in an effort to become the first men to cross the vast Antarctic land mass, a grand plan that was given the lofty title “The Imperial Trans-Antarctic Expedition.” At the same time the “Endurance” set out into the Weddell Sea so that a group of six, including Shackleton, could traverse the vase continent, another ship, called “The Aurora” landed on…
Over the past few years I have had the great pleasure of learning from a number of academics and researchers who work in literary studies rather than psychology.
The capacity for fiction to express and represent the more uncanny and ineffable aspects of human experience is unbounded, and I have my colleagues to thank for introducing me to the stories of Toni Morrison, Hilary Mantel, and Virginia Woolf.
I could have chosen any number of texts, but one I particularly like is Grief is the Thing with Feathers. Poetic in form but still a novel, it brilliantly depicts the presence of grief – personified as a jet-black crow – that visits a widower and his two young sons.
A SUNDAY TIMES TOP 100 NOVEL OF THE TWENTY-FIRST CENTURY
Winner of the 2016 International Dylan Thomas Prize and the Sunday Times/Peter, Fraser + Dunlop Young Writer of the Year award and shortlisted for the Guardian First Book Award and the Goldsmiths Prize.
In a London flat, two young boys face the unbearable sadness of their mother's sudden death. Their father, a Ted Hughes scholar and scruffy romantic, imagines a future of well-meaning visitors and emptiness.
In this moment of despair they are visited by Crow - antagonist, trickster, healer, babysitter. This sentimental bird is drawn to the grieving family…
Staying with fiction, this is a book (or rather, a trilogy of books), that has so much to say about presences and voices.
It made a huge influence on me as a young reader with the first volume,Northern Lights, being released when I was 10. Throughout the series the prominence of daemons, spectres, angels, and ghosts prompts readers to be constantly thinking about questions concerning self and others, and the divisions of mind, body, and soul.
In his collection of essays, Daemon Voices, Pullman has also written about how fictional characters begin speaking for themselves as part of the creative process – a form of imaginative companionship that I discuss towards the end of my book.
The first volume in Philip Pullman's groundbreaking HIS DARK MATERIALS trilogy, now a thrilling, critically acclaimed BBC/HBO television series. First published in 1995, and acclaimed as a modern masterpiece, this first book in the series won the UK's top awards for children's literature.
"Without this child, we shall all die."
Lyra Belacqua and her animal daemon live half-wild and carefree among scholars of Jordan College, Oxford.
The destiny that awaits her will take her to the frozen lands of the Arctic, where witch-clans reign and ice-bears fight.
Her extraordinary journey will have immeasurable consequences far beyond her own world...
An obvious influence on the style and format of my book is Oliver Sacks, whose example looms large over anyone seeking to explain the mind and brain primarily via story and narrative.
But a writer who provided as big an influence for me in writing this book is the psychiatrist Irvin Yalom, and his 1989 book,Love’s Executioner. The book contains several tales from Yalom’s practice in psychotherapy, and the title story concerns a story of obsessional and unrequited love that must be dispelled – Yalom must be the executioner of the misplaced affection.
The human ability to create whole relationships in our minds – as if another mind is constantly with us – is sensitively expressed and navigated by Yalom, and crucial to how we can understand the personal meaning and significance of many experiences of felt presence.
The collection of ten absorbing tales by master psychotherapist Irvin D. Yalom uncovers the mysteries, frustrations, pathos, and humour at the heart of the therapeutic encounter. In recounting his patients' dilemmas, Yalom not only gives us a rare and enthralling glimpse into their personal desires and motivations but also tells us his own story as he struggles to reconcile his all-too human responses with his sensibility as a psychiatrist. Not since Freud has an author done so much to clarify what goes on between a psychotherapist and a patient.
I grew up on a family farm surrounded by larger vegetable and dairy operations that used migrant labor. From an early age, my siblings and I were acquainted with the children of these workers, children whom we shared a school desk with one day and were gone the next. On summer vacations, our parents hauled us around in a station wagon with a popup camper, which they parked in out-of-the-way hayfields and on mountainous plateaus, shunning, much to our chagrin, normal campgrounds, and swimming pools. Thus, I grew up exposed to different cultures and environments. My writing reflects my parents’ curiosity, love of books and travel, and devotion to the natural world.
After her mother is killed in a rare Northern Michigan tornado, Sadie Wixom is left with only her father and grandfather to guide her through young adulthood. Miles away in western Saskatchewan, Stefan Montegrand and his Indigenous family are displaced from their land by multinational energy companies. They are taken in temporarily by Sadie’s aunt, a human rights activist who heads a cultural exchange program.
Stefan promptly runs afoul of local authority, but Sadie, intrigued by him and captivated by his story, has grown sympathetic to his cause and complicit in his pushback against prejudiced accusations. Their mutual attraction is stymied when Stefan’s older brother, Joachim, who stayed behind, becomes embroiled in the resistance, and Stefan is compelled to return to Canada. Sadie, concerned for his safety, impulsively follows on a trajectory doomed by cultural misunderstanding and oncoming winter.
After her mother is killed in a rare Northern Michigan tornado, Sadie Wixom is left with only her father and grandfather to guide her through the pitfalls of young adulthood. Hundreds of miles away in western Saskatchewan, Stefan Montegrand and his Indigenous family are forced off their land by multinational energy companies and flawed treaties. They are taken in temporarily by Sadie's aunt, a human rights activist who heads a cultural exchange program. Stefan, whose own father died in prison while on a hunger strike, promptly runs afoul of local authority, but Sadie, intrigued by him and captivated by his…
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