Category Archives: Mania
In a previous 2014 blog, I looked at the psychology of shoplifting (which I called ‘Men of Steal’) based on the work of American psychologist John C. Brady (who’s upcoming book is also entitled ‘Men of Steal’). Brady is a really engaging writer and he recently published an article in Counsellor magazine on celebrity theft and why for some people it should be classed as an addiction.
Brady briefly recounted the cases of three celebrities who had been caught shoplifting (Lindsay Lohan, Kim Richards, and Winona Ryder – click on the links to get the stories of each of these celebrity shoplifting stories). Other famous celebrity shoplifters include Britney Spears, Megan Fox, Kristin Cavallari, Farrah Fawcett, and WWE Diva Emma (if you’re really interested in these and other celebrity shoplifters, then check out this story in Rebel Circus). According to Dr. Brady “psychological analysis reveals they are not greedy, rather they are addicted to the ‘rush’ associated with theft” and that there is an ‘addictive criminal syndrome’.
Brady’s article used the ‘celebrity’ angle as the ‘hook’ to write more generally about ‘shoplifting addictions’ and briefly outlined the cases of three high profile ‘theft addicts’:
“The first man is Bruce McNall, former LA Kings owner, Hollywood film producer, and a convicted felon. He received five years in Lompoc Federal Prison for stealing $238 million. The second man, John Spano, former owner of the New York Islanders, went off to two terms in federal prisons for stealing $80 million. He is currently an inmate in an Ohio prison doing ten more years for a crime he did not originate. Finally, William “Boots” Del Biaggio III, former Silicon Valley venture capitalist operator and founder of Heritage Bank in San Jose, graduated in 2016 from eight years at Lompoc for fraud. He stole $110 million to buy the Nashville Predators hockey team. He later expressed regret—maybe too little too late”.
Brady believes that these individuals had a behavioural addiction to stealing. The cases he outlined were all true and were examples of what Brady described as “elite offenders who became addicted to the rush connected to stealing”. Some commonalities between the three individuals was noted: they were charming, deceptive, had personalities that were outgoing, never used violence or aggression in the carrying out of their thefts, and (in Brady’s view) were addicted to crime. Like many addicts, they harmed themselves, their families, and their communities as a consequence of their behaviour.
The idea of being addicted to crime is not new, and the addiction components model that I have developed over the last couple of decades was based on that of one of my mentors – Iain Brown – who used such a model to explain addictive criminal offending in a really good book chapter published back in 1997 (in the book Addicted to Crime? edited by the psychologists John Hodge, Mary McMurran and Clive Hollin – see ‘Further reading’ below). Like me, Brady also read Addicted to Crime? in which it was posited that some criminals appear to become addicted to stealing (and that the act of theft made them feel good psychologically by providing a ‘high’ or a ‘rush’ similar to the feelings individuals experience when they ingest psychoactive substances). Brady argues that an addiction to stealing is a behavioural addiction and that it is “functionally equivalent” to substance-based addictions for two main reasons: that theft addicts (i) “generally derive the same initial uplifting, euphoric, and subjective sensations similar to substance abusers”, and (ii) “are almost blindly driven toward their goal and they cannot stop their self-defeating behaviors”.
Brady contends that there are five addictive criminal stages of what he terms “the zone”: (i) criminal triggers, (ii) moral neutralisation, (iii) commission of the criminal act, (iv) post-criminal-act exhilaration, and (v) post-criminal-act confusion. Brady asserts:
“The five addictive stages comprising the criminal addictive zone helps explain why certain offenders arrived at such low points in their lives and progressively became drawn deeper into the addictive zone. Because these three men became frozen into one or more of these stages, they simply could not easily find an exit sign. I have applied this criminal zonal theory to a variety of deviant groups, including white-collar deviants and now to these three elite, nonviolent bank robbers. An analysis of the criminal addictive personality forms the foundation of the addictive zone. This zone is marked with multiple, negative psychological forces evidenced during each of the five stages…The movement through these overlapping stages results in a negative, criminological, transformative process during which theft addicts surrender their prior noncriminal status (positive), thereby adopting a new deviant one (negative)…After entering into this enigmatic zone, offenders often become locked into one or more of these overlapping stages. The one factor that remains constant is that the progression through these five stages dramatically and unalterably changed these men’s lives, their victims’ lives, and the lives of people around them”.
Brady’s five addictive criminal stages are:
- Criminal triggers – In the first stage. these internal triggers revolve around salience and low self-esteem and comprise “confusing and mostly illogical thoughts” that criminals acquire. These negative thoughts are “reflective of peoples’ compromised self-concepts coupled with the desire to overcompensate for perceived personal shortcomings” and primarily originate from feelings of loneliness, emptiness, and inadequacy.
- Moral neutralisation – In the second stage, Brady claims that this stage is the most complex and essential of all the stages and is rooted in conflict. The destructive and self-defeating behaviour that criminals experience is not driven by material (economic) motives but is simply individuals “trying to enrich their empty shell identities” and fuelled by irrational thoughts of wanting to prove to significant others that they are really important. These motives may be completely unconscious
- Commission of the criminal act – In the third stage, the actual carrying out of the criminal acts demands that criminals “neutralize the unsavory aspects of their offenses…and lend meaning to inexplicable behaviors”. The more a criminal engages in the activity the more criminals become “skilled practitioners in the art of self-deception”. Here, the criminal behaviour is paired with “exciting sensations” associated with the risk of engaging in criminal activity (“an anticipated visceral feeling or mental excitement and stimulation, if not an elation, a thrill, a rush, and even a sense of euphoria”). In short, the euphoric sensations experienced reinforce the criminal behaviour.
- Post-criminal-act exhilaration – In the fourth stage, Brady claims there is typically a “flooding of mood-elevating feelings similar to an adrenaline rush, accompanied with thoughts that synthetically increase their sense of well-being” and what my mentor Iain Brown refers to as “hedonic mood management”. In short, the criminal act can help individuals feel like “bigshots” and criminals may justify doing something bad because it makes them feel so good. Brady also claims that many of these exhilarating feelings “manifest themselves on an unconscious level that is easily experienced, yet not easily comprehended by a theft addict”
- Post-criminal-act confusion – In the fifth stage, Brady claims that the mood modifying experiences in the third and fourth stages are “replaced with new, dramatic, and unexpected changes in the offenders’ emotional awareness”. Here, criminals become confused, depressed and socially withdrawn, as well as experiencing withdrawal-like reactions (e.g., sweating, headaches, anxiety, nausea, heart arrhythmia, etc.). Brady says that on a psychological level, the fifth stage five is characterized by “confusion, guilt, afterthoughts, misgivings, anxiety, depression, and dramatic mood shifts ranging from feelings of sadness to hopelessness”. It is also during this stage that criminals might start to show signs of remorse.
Brady concludes that for the criminals he has known and treated “used the stolen money to boost their status and enhance their enormous egos so they could attain ‘big shot’ fame”. I find this last observation interesting given a previous blog that I wrote on fame being addictive. I’ve also written other blogs on addictive criminal behaviour (such as joy-riding).
I am of the opinion that specific types of crime can be classed as an addictive behaviour because addictions rely on constant rewards (i.e., reinforcement) and crime can provide many rewarding experiences (both financially and psychologically), at least in the short-term. I’m not for one-minute condoning such behaviour, just simply stating my opinion that I believe it’s theoretically possible to become addicted to activities such as stealing.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Brady, J.C. (2013). Why Rich Women Shoplift – When They Have It All. San Jose, CA: Western Psych Press.
Brady, J.C. (2017) Celebrity theft: Unmasking addictive criminal intent. Counselor, July/August. Located at: http://www.counselormagazine.com/detailpageoverride.aspx?pageid=1729&id=15032386763
Brown, I. (1997). A theoretical model of the behavioral addictions: Applied to offending. In J.E. Hodge, M. McMurran, & C.R. Hollin (Eds.), Addicted to crime? (pp. 15–63). Chichester: Wiley.
Hodge, J.E., McMurran, M., & Hollin, C.R. (1997). Addicted to crime? Chichester: Wiley.
Shulman, T.D. (2011). Cluttered Lives, Empty Souls – Compulsive Stealing, Spending and Hoarding. West Conshohocken, PA: Infinity Publishing.
Soriano, M. (2015). 15 celebrities who were caught shoplifting. Rebel Circus, May 13. Located at: http://www.rebelcircus.com/blog/celebrities-caught-shoplifting/
Recently, I did an interview with a journalist about ‘love bombing’ described by her as a new phenomenon occurring in online dating and is “when someone showers you with attention, promising the world but when you respond they go cold and stop responding”. However, there is nothing new about ‘love bombing’ because the term has been around since the 1970s except it has traditionally been described as a practice by religious organisations and cults in relation to the indoctrination of new recruits. According to a number of different sources, the term ‘love bombing’ was coined by the Unification Church of the United States founded by Sun Myung Moon (and why individuals in the cult are often referred to as ‘Moonies’). A number of academics have written about ‘love bombing’ within cult movements. For instance, Thomas Robbins in a 1984 issue of the journal Social Analysis noted that:
“Many elements involved in controversies over alleged cultist brainwashing entail trans-valuational conflicts related to alternative internal vs. external perspectives. The display of affection toward new and potential converts (‘love bombing’), which might be interpreted as a kindness or an idealistic manifestation of devotees’ belief that their relationship to spiritual truth and divine love enables them to radiate love and win others to truth, is also commonly interpreted as a sinister ‘coercive’ technique (Singer, 1977)”.
In a 2002 issue of the journal Human Relations, Dennis Tourish and Ashly Pinnington wrote that the practice of ‘love bombing’ is derived from the interpersonal perception literature and is a form of ‘ingratiation’ (taken from Edward Jones’ 1964 book of the same name). They then cite from Jones’ 1990 book Interpersonal Perception:
“There is little secret or surprise in the contention that we like people who agree with us, who say nice things about us, who seem to possess such positive attributes as warmth, understanding, and compassion, and who would ‘go out of their way’ to do things for us”.
Tourish again (this time with Naheed Vatcha) in a 2005 issue of the journal Leadership noted that cults use ‘love bombing’ as an emotionally draining recruitment strategy and that it is a form of positive reinforcement. More specifically, they noted that:
“Cults make great ceremony of showing individual consideration for their members. One of the most commonly cited cult recruitment techniques is generally known as ‘love bombing’ (Hassan, 1988). Prospective recruits are showered with attention, which expands to affection and then often grows into a plausible simulation of love. This is the courtship phase of the recruitment ritual. The leader wishes to seduce the new recruit into the organization’s embrace, slowly habituating them to its strange rituals and complex belief systems. At this early stage resistance will be at its highest. Individual consideration is a perfect means to overcome it, by blurring the distinctions between personal relationships, theoretical constructs and bizarre behaviors”.
More recently, the practice of ‘love bombing’ has been used in other contexts such by gang leaders or pimps as a way of controlling their victims (as outlined in the 2009 book Gangs and Girls: Understanding Juvenile Prostitution by Michel Dorais and Patrice Corriveau), and within the context of everyday dating and online dating. One article that has been cited a lot in the press relating to the use of ‘love bombing’ in day-to-day relationships is a populist article written for Psychology Today by Dr. Dale Archer. He noted that:
“Notorious cult leaders Jim Jones, Charles Manson, and David Koresh weaponized love bombing, using it to con followers into committing mass suicide and murder. Pimps and gang leaders use love bombing to encourage loyalty and obedience as well”.
Dr. Archer says that ‘love bombing’ works because “humans have a natural need to feel good about who we are, and often we can’t fill this need on our own”. He says that there are times of high susceptibility to being ‘love bombed’ such as losing a job or going through a divorce. Irrespective of why or where the susceptibility has arisen, Archer claims that love bombers “are experts at detecting low self-esteem, and exploiting it”. He then goes on to claim that:
“The paradox of love bombing is that people who use it aren’t always seeking targets that broadcast insecurity for all to see. On the contrary, the love bomber is also insecure, so to boost their ego, the target must at least seem like a great “catch.” Maybe she’s the beautiful woman, who’s lonely because her beauty intimidates people, or he’s the guy with the great career whose wife left him for his best friend, or she’s the hard-nosed businesswoman, who’s avoided marriage and motherhood because her childhood was so traumatic. On paper, these folks are attractive, but something makes them doubt their own value. Along comes the love bomber to shower them with affection and attention. The dopamine rush of the new romance is vastly more powerful than it would be if the target had a healthy self-esteem, because the love bomber fills a need the target can’t fill on her own”.
My own expertise on ‘love bombing’ is limited (to say the least). However, I did attempt to answer the questions I was asked, and here are my verbatim replies.
It seems like [‘love bombing’] quite an addictive and compulsive behaviour – what do you make of it?
There is no evidence that love bombing is either addictive or compulsive and is simply a specific behaviour that although may be repetitive and habitual is not something that would be done compulsively (because the love bombing is planned and focused) or addictively (because love bombing not something that they would do that compromises everything else in their life).
Are there any psychological reasons why people behave like this?
I don’t know of any psychological research that has been done on love bombing but the concept is not new as it has been in the academic literature since the 1970s in relation to indoctrinating individuals into religious cults. Love bombing is a manipulative strategy to make individuals more emotionally pliable. My guess is that in a relationship setting (rather than a cult setting) the individuals engaged in love bombing are likely to be egomaniacs and/or narcissists who like to feel dominant and powerful and/or love psychologically humiliating others.
In my experience, and according to some of the people I’ve interviewed who are guilty of ‘love bombing’ – they do it to multiple people at once.
If love bombing is part of an individual’s behavioural repertoire there is no reason why they wouldn’t do it with more than one person at the same time. However, I don’t know of any research that has shown this to be the case but it wouldn’t surprise me if some individuals were unfaithful love bombers (but I’m sure there are serial love bombers who just do it from one relationship to the next without being physically or emotionally unfaithful).
Is it to straightforward to blame tech for such behaviours – is it just an amplification of behaviours people already exhibit in real life? The temptation always seems to be to blame it on the internet.
The internet tends to facilitate pre-existing problematic behaviour rather than cause it. However, it is well known that the internet is a disinhibiting medium and that individuals lower their psychological guard online. In the case of relationships, the perceived anonymity of being online means that individuals reveal things about themselves, often very private things, because the medium is non-face-to-face, non-threatening, non-alienating and non-stigmatising. Individuals can develop deep emotional relationships online without even having met the other person because of the internet’s disinhibiting properties. Consequently, online methods of communication are another tool in love bomber’s armoury in (initially) showering their professed love for somebody and can happen 24/7 (something which couldn’t have happened in the days prior to online ubiquity).
Where and how, if at all, does this sort of problematic behaviour intersect with sex and love addiction?
I don’t see any overlaps between ‘love bombing’ and sex addiction as they are two completely different constructs and have completely different underlying motivations with little in the way of crossover. Obviously, love bombing could be used as a method to increase the likelihood of sex (because flattery goes a long way). However, if the ultimate goal is psychological control of another person’s emotions, sex is simply a by-product of love bombing rather than the main goal.
Anything else you would like to add?
As far as I can tell, there has never been any empirical research on ‘love bombing’ within the context of dating so all my responses to the questions I was asked are speculative. However, I do think this is an area that would benefit from scientific investigation given how important personal relationships are within our lives. At the very least such research might uncover the signs and strategies that ‘love bombers’ typically use and might prevent a lot of emotional pain felt by individuals not rushing head first (or should that be heart first?) into such relationships in the first place.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Archer, D. (2017). The manipulative partner’s most devious tactic. Psychology Today, March 6. Located at: https://www.psychologytoday.com/blog/reading-between-the-headlines/201703/the-manipulative-partners-most-devious-tactic
Dorais, M. & Corriveau, P. (2009). Gangs and Girls: Understanding Juvenile Prostitution. Montreal: McGill-Queen’s Press.
Griffiths, M.D. (2000). Cyber affairs – A new area for psychological research. Psychology Review, 7(1), 28-31.
Griffiths, M.D. (2000). Excessive internet use: Implications for sexual behavior. CyberPsychology and Behavior, 3, 537-552.
Griffiths, M.D. (2001). Sex on the internet: Observations and implications for sex addiction. Journal of Sex Research, 38, 333-342.
Griffiths, M.D. (2012). Internet sex addiction: A review of empirical research. Addiction Research and Theory, 20, 111-124.
Hassan, S. (1988) Combating Cult Mind Control. Rochester: Park Press.
James, O. (2012). Love bombing: Reset your child’s emotional thermostat. London: Karnac Books.
Jones, E. (1964). Ingratiation. New York: Appleton-Century-Crofts
Jones, E. (1990). Interpersonal Perception. New York: WH Freeman.
Robbins, T. (1984). Constructing cultist “mind control”. Sociological Analysis, 45(3), 241-256
Singer, M. (1977). Therapy with ex-cultists. National Association of Private Psychiatric Hospitals Journal, 9(4), 15-18.
Tourish, D., & Pinnington, A. (2002). Transformational leadership, corporate cultism and the spirituality paradigm: An unholy trinity in the workplace? Human Relations, 55(2), 147-172.
Tourish, D., & Vatcha, N. (2005). Charismatic leadership and corporate cultism at Enron: The elimination of dissent, the promotion of conformity and organizational collapse. Leadership, 1(4), 455-480.
Wikipedia (2017). Love bombing. Located at: https://en.wikipedia.org/wiki/Love_bombing
Five years ago I wrote a blog about one of my favourite bands, Throbbing Gristle (TG; Yorkshire slang for a penile erection). In that article, I noted that TG were arguably one of “the most extreme bands of all time” and “highly confrontational”. They were also the pioneers of ‘industrial music’ and in terms of their ‘songs’, no topic was seen as taboo or off-limits. In short, they explored the dark and obsessive side of the human condition. Their ‘music’ featured highly provocative and disturbing imagery including hard-core pornography, sexual manipulation, school bullying, ultra-violence, sado-masochism, masturbation, ejaculation, castration, cannibalism, Nazism, burns victims, suicide, and serial killers (Myra Hindley and Ian Brady).
I mention all this because I have just spent the last few days reading the autobiography (‘Art Sex Music‘) of Cosey Fanni Tutti (born Christine Newbie), one of the four founding members of TG. It was a fascinating (and in places a harrowing) read. As someone who is a record-collecting completist and having amassed almost everything that TG ever recorded, I found Cosey’s book gripping and read the last 350 pages (out of 500) in a single eight-hour sitting into the small hours of Sunday morning earlier today.
TG grew out of the ‘performance art’ group COUM Transmissions in the mid-1970s comprising Genesis P-Orridge (‘Gen’, born Neil Megson in 1950) and Cosey. At the time, Cosey and Gen were a ‘couple’ (although after reading Cosey’s book, it was an unconventional relationship to say the least). TG officially formed in 1975 when Chris Carter (born 1953) and Peter ‘Sleazy’ Christopherson (1955-2010). Conservative MP Sir Nicholas Fairburn famously called the group “wreckers of civilisation” (which eventually became the title of their 1999 biography by Simon Ford).
As I noted in my previous article, TG are – psychologically – one of the most interesting groups I have ever come across and Cosey’s book pulled no punches. To some extent, Cosey’s book attempted to put the record straight in response to Simon Ford’s book which was arguably a more Gen-oriented account of TG. Anyone reading Cosey’s book will know within a few pages who she sees as the villain of the TG story. Gen is portrayed as an egomaniacal tyrant who manipulated her. Furthermore, she was psychologically and physically abused by Gen throughout their long relationship in the 1970s. Thankfully, Cosey fell in love with fellow band member Chris Carter and he is still the “heartbeat” of the relationship and to who her book is dedicated.
Like many of my favourite groups (The Beatles, The Smiths, The Velvet Underground, Depeche Mode), TG were (in Gestaltian terms) more than the sum of their parts and all four members were critical in them becoming a cult phenomenon. The story of their break up in the early 1980s and their reformation years later had many parallels with that of the Velvet Underground’s split and reformation – particularly the similarities between Gen and Lou Reed who both believed they were leaders of “their” band and who both walked out during their second incarnations.
Cosey is clearly a woman of many talents and after reading her book I would describe her as an artist (and not just a ‘performance artist’), musician (or maybe ‘anti-musician in the Brian Eno sense of the word), writer, and lecturer, as well as former pornographic actress, model, and stripper. It is perhaps her vivid descriptions of her life in the porn industry and as a stripper that (in addition to her accounts of physical and psychological abuse by Gen) were the most difficult to read. For someone as intelligent as Cosey (after leaving school with few academic qualifications but eventually gaining a first-class degree via the Open University), I wasn’t overly convinced by her arguments that her time working in the porn industry both as a model and actress was little more than an art project that she engaged in on her own terms. But that was Cosey’s justification and I have no right to challenge her on it.
What I found even more interesting was how she little connection between her ‘pornographic’ acting and modelling work and her time as a stripper (the latter she did purely for money and to help make ends meet during the 1980s). Her work as a porn model and actress was covert, private, seemingly enjoyable, and done behind closed doors without knowing who the paying end-users were seeing her naked. Her work as a stripper was overt, public, not so enjoyable, and played out on stage directly in front of those paying to see her naked. Two very different types of work and two very different psychologies (at least in the way that Cosey described it).
Obviously both jobs involved getting naked but for Cosey, that appeared to be the only similarity. She never ever had sex for money with any of the clientele that paid to see her strip yet she willingly made money for sex within the porn industry. For Cosey, there was a moral sexual code that she worked within, and that sex as a stripper was a complete no-no. The relationship with Gen was (as I said above) ‘unconventional’ and Gen often urged her and wanted her to have sex with other men (and although she never mentioned it in her book, I could speculate that Gen had some kind of ‘cuckold fetish’ that I examined in a previous blog as well as some kind of voyeur). There were a number of times in the book when Cosey appeared to see herself as some kind of magnet for unwanted attention (particularly exhibitionists – so-called ‘flashers’ – who would non-consensually expose their genitalia in front of Cosey from a young age through to adulthood). Other parts of the book describe emotionally painful experiences (and not just those caused by Gen) including both her parents disowning her and a heartfelt account of a miscarriage (and the hospital that kept her foetus without her knowledge or consent). There are other sections in the book that some readers may find troubling including her menstruation art projects (something that I perhaps should have mentioned in my blog on artists who use their bodily fluids for artistic purposes).
Cosey’s book is a real ‘warts and all’ account of her life including her many health problems, many of which surprisingly matched my own (arrhythmic heart condition, herniated spinal discs, repeated breaking of feet across the lifespan). Another unexpected connection was that her son with Chris Carter (Nick) studied (and almost died of peritonitis) as an undergraduate studying at art at Nottingham University or Nottingham Trent University. I say ‘or’ because at one stage in the book it says that Nick studied at Nottingham University and in another extract it says they were proud parents attending his final degree art show at Nottingham Trent University. I hope it was the latter.
Anyone reading the book would be interested in many of the psychological topics that make an appearance in the book including alcoholism, depression, claustrophobia, egomania, and suicide to name just a few. In previous blogs I’ve looked at whether celebrities are more prone to some psychological conditions including addictions and egomania and the book provides some interesting case study evidence. As a psychologist and a TG fan I loved reading the book.
Dr Mark Griffiths, Professor of Behavioural Addictions, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Cooper, D. (2012). Sypha presents … Music from the Death Factory: A Throbbing Gristle primer. Located at: http://denniscooper-theweaklings.blogspot.co.uk/2012/02/sypha-presents-music-from-death-factory.html?zx=c19a3a826c3170a7
Fanni Tutti, C. (2017). Art Sex Music. Faber & Faber: London.
Ford, S. (1999). Wreckers of Civilization: The Story of Coum Transmissions and Throbbing Gristle. London: Black Dog Publishing.
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Reynolds, S. (2006). Rip It Up and Start Again: Postpunk, 1978–1984. New York: Penguin.
Sarig, R. (1998). The Secret History of Rock: The Most Influential Bands You’ve Never Heard Of. New York: Watson-Guptill Publications.
Walker, J.A. (2009). Cosey Fanni Tutti & Genesis P-Orridge in 1976: Media frenzy, Prostitution-style, Art Design Café, August 10. Located at: http://www.artdesigncafe.com/cosey-fanni-tutti-genesis-p-orridge-1-2009
Wells, S. (2007). A Throbbing Gristle primer. The Guardian, May 27. Located at: http://www.guardian.co.uk/music/musicblog/2007/may/29/athrobbinggristleprimer
It’s now been a year since the tragic death of David Bowie and this is my fourth blog on him in that period (my others being my personal reflections on the psychology of Bowie, Bowie and the Beatles, and Bowie and the occult). Outside of my own friends and family, it’s still Bowie’s death that has affected me the most psychologically but at least I still have his music to listen to. Bowie inspired millions of people in many different ways. This blog looks at the things that I have learned from Bowie and how he influenced my career.
Persevere with your life goals – Most people are aware that it took years for Bowie to have has first hit single (‘Space Oddity’, 1969), five years after his first single (‘Liza Jane’, 1964). Even after the success of ‘Space Oddity’, it took another three years before he had his second hit single (‘Starman’, 1972) and in the early 1970s there were many who thought he would be a ‘one-hit wonder’ and a small footnote in music history. Bowie never gave up his quest for musical stardom and is arguably one of the best examples of the proverb “If at first you don’t succeed, try, try again”. I’ve often told others that they key to success is being able to learn from your mistakes and being able to handle rejection (which for academics is having papers rejected, grant bids rejected, and attempts at promotion rejected, etc.). Bowie personified perseverance and for this quality alone I am very grateful as it has been the bedrock of my career to date.
Encourage teamwork and collaboration – Despite being a solo artist for the vast majority of his post-1969 career (Tin Machine being the most high-profile notable exception), Bowie was (like me) a ‘promiscuous collaborator’ and much of his success would not have been possible without a gifted team around him whether it be his inner circle of musicians (Mick Ronson, Carlos Alomar, Robert Fripp, Mike Garson, etc.), his producers (Tony Visconti, Nile Rogers, Ken Scott, etc.), co-writers and inspirators (Iggy Pop, Lou Reed, Brian Eno, John Lennon, etc.), or those he jointly released music with (Mott The Hoople, Queen, Arcade Fire, Pet Shop Boys, Placebo, to name just a few). I have carried out and published research with hundreds of people during my 30-year academic career, and like Bowie, some are one-off collaborations and others are lifelong collaborations. Bowie taught me that although I can do some things by myself, it is the working with others that brings out the best in me.
Experiment to the end – Bowie was never afraid to experiment and try new things whether it was musical, pharmacological, spiritual, or sexual. Mistakes were part of the learning process and he pursued this – especially musically – until the very end of his life (for instance, on his ★ [Blackstar] album where he employed a local New York jazz combo led by saxophonist Donny McCaslin). Failure is success if we learn from it and this is one of the maxims that I live my life by. Bowie taught me that you can have lots of other interests that can be rewarding even if you are not as successful as your day job. Bowie liked to act (and obviously had some success in this area) and also liked to paint (but had much less success here than his other artistic endeavours). By any set of criteria, I am a successful academic but I also like to write journalistically and engage in a wide variety of consultancy (areas that I have had some success) and I like writing poetry (something that I have not been successful financially – although I did win a national Poetry Today competition back in 1997 and have published a number of my poems). Bowie taught me that success in one area of your life can lead to doing other more experimental and rewarding activities even if they are not as financially lucrative.
Push yourself (even in the bad times) – One of the things I love about Bowie was his ability to carry on working and being productive even when he was not at his physical best. Nowhere is this more exemplified than working on the ★ LP while undergoing chemotherapy for his liver cancer. There are also other times in his life such as when he was at the height of his cocaine addiction in 1975 where he produced some of the best music of his career (most notably the Young Americans and Station to Station LPs, the latter of which is one of my all-time favourite records). I have had a few low periods in my life due to various health, relationship and/or personal issues but I have learned through experience that work is a great analgesic and that even when you are at your lowest ebb you can still be highly productive.
Have a Protestant work ethic – Bowie was arguably one of the most hard-working musicians of all time and had what can only be described as a Protestant work ethic from the early 1960s right up until his heart attack in 2004. I am a great believer in the philosophy that “you get out what you put in” and Bowie exemplified this. Andy Warhol told Lou Reed while he was in the Velvet Underground that he should work hard, because work is all that really matters (and was the subject of the song ‘Work’ on the seminal Songs For Drella LP by Reed and John Cale). Bowie also appeared to live by this mantra and is something that I adhere to myself (and is why I am often described as being a workaholic). While Bowie isn’t my only role model in this regard, he’s certainly the most high-profile.
Lead by example but acknowledge your influences – Bowie had a unique gift in being able to borrow from his own heroes but turn it into something of his own (without ever forgetting his own heroes and influences – his Pin Ups LP probably being the best example of this). One of my favourite phrases is “Don’t jump on the bandwagon, create it”, and this has as underpinned a lot of the research areas that I have initiated and is something that I learned from Bowie. Maybe Bowie is a case of the quote often attributed to Oscar Wilde that “talent borrows, genius steals”.
Promote yourself – If there is one thing that Bowie was gifted in as much as his songwriting, it was his own art of self-promotion. Bowie always had the knack to generate news stories about himself and his work without seemingly trying. By the end of his career, it was the act of not saying anything or doing any personal publicity that was just as newsworthy. Bowie intuitively knew how to garner media publicity on his own terms in a way that very few others can. (I also argued that another one of my heroes – Salvador Dali – did the same thing in one of my articles on him in The Psychologist back in 1994). I’d like to think I am good at promoting my work and Bowie is one of my role models in this regard.
Be opportunistic and flexible – If there is one thing besides working hard that sums up my career to date, it is being opportunistic and flexible. As a voracious reader of all things Bowie since my early teens, I always loved Bowie’s sense of adventure and just following paths because they might lead you to something unexpected. Whether it was his use of the ‘cut up’ technique for writing lyrics (developed by Brion Gysin and William S. Burroughs), his use of Brian Eno’s ‘oblique strategy’ cards, or his love of studio improvisation (such as on the Berlin trilogy albums and the Outside LP), Bowie showed that inspiration for his musical and lyrical ideas could come from anywhere – from a person, from a fleeting observation, from something he read, from something he heard or saw in film or TV programme, and from his own life experiences. I too have taken this approach to my work and believe I am a much better person for it.
Be a mentor to others – Whatever career path you follow, mentors are key in developing talent and Bowie was a mentor to many people that he personally worked with (including many of the artists I named in the section on encouraging teamwork and collaboration above) as well as being an inspirational influence to those he never met (including myself).
Learn from those younger and less experienced than yourself – Paradoxically, despite being an influence on millions of people across many walks of life, Bowie was never afraid to learn from those much younger than himself and exemplified the maxim that you’re never too old to learn new things. He loved innovation and ideas and would soak it up from whoever was around him. As I have got older, this is something that I value more and am never afraid to learn from those much younger or seemingly less experienced than myself – particularly my PhD students.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Buckley, D. (2005). Strange Fascination: David Bowie – The Definitive Story. London: Virgin Books.
Cann, K. (2010). Any Day Now: David Bowie The London Years (1947-1974). Adelita.
Goddard, S. (2015). Ziggyology. London: Ebury Press.
Griffiths, M.D. (1994). Heroes: Salvador Dali. The Psychologist: Bulletin of the British Psychological Society, 7, 240.
Hewitt, P. (2013). David Bowie Album By Album. London: Carlton Books Ltd.
Leigh, W. (2014). Bowie: The Biography. London: Gallery.
Pegg, N. (2011). The Complete David Bowie. London: Titan Books.
Seabrook, T.J. (2008). Bowie In Berlin: A New Career In A New Town. London: Jawbone.
Spitz, M. (2009). Bowie: A Biography. Crown Archetype.
Trynka, P. (2011). Starman: David Bowie – The Definitive Biography. London: Little Brown & Company.
As a researcher in the gambling studies field and an avid watcher of films, it comes as little surprise that I love watching films where gambling is key to the plot. Occasionally, I write academic papers about gambling portrayals in film (most notably an in-depth look at my favourite gambling film, The Gambler – the original 1974 film starring James Caan in the title role and not the more recent 2014 remake starring Mark Wahlberg – which I published in a 2004 issue of the International Journal of Mental Health and Addiction). I wrote about this paper in a previous blog and I have also written a few blogs where gambling films are central to the articles such as my blog on Philip Seymour Hoffman and his film Owning Mahowny, my blog on the psychology of Columbo (where I argued that gambling and gamblers are central to many of the plot lines), and my blog on the psychopathology of Star Wars (where problem gambling is one of the many disorders that features in the film’s franchise).
The world of gambling and gamblers has been portrayed in many films and in many different ways throughout the years (e.g., The Sting, The Cincinnati Kid, Casino, Owning Mahoney, Rain Man). However, I argued (way back) in a 1989 issue of the Journal of Gambling Behavior that many of these film representations tend to cast gambling in an innocuous light, and often portray gamblers, largely male, as hero figures. I made this observation without doing any systematic review of films containing gambling and my thoughts were purely impressionistic.
A decade ago, Dr. Nigel Turner and his colleagues published a lovely study in the Journal of Gambling Issues examining ‘images of gambling’ in films. They built on Jeffrey Dement’s 1999 book Going for broke: The depiction of compulsive gambling in film. They noted that:
“Dement’s (1999) book, Going for Broke is a thorough examination of movies that depict pathological gambling. He examined a number of films in terms of the extent to which the portrayals delivered accurate and appropriate messages about problem gambling. Although some movies accurately portray the nature of pathological gambling at least during some segments, Dement found that many movies about pathological gambling had irresponsibly happy endings. Film images in some cases reflected societal views on gambling. However, images in films may also alter societal views of gambling (Dement, 1999)…Dement focused only on movies that were about problem and pathological gambling. Many films that depict gambling or have images of gambling that are not about pathological gambling per se. In [our] article we will extend Dement’s work by looking more broadly at films about gambling”.
In their study, Turner and colleagues content analysed 65 films (from an initial list of “several hundred films”) mainly from the two decades prior to the publication of the study. The authors recounted that:
“Many of the films we discuss are personal favourites that we have watched several times (e.g., Rounders, The Hustler, Vegas Vacation, The Godfather). Some of the films reviewed in this article have been also discussed by [other scholars]. Some films were included because they were found listed as gambling films in film catalogues or by Web searches for ‘gambling movies’ (e.g., Get Shorty). Other films were suggested to us by recovering pathological gamblers, counsellors specializing in problem gambling, recreational gamblers, video rental store employees, and postings to the bulletin board of Gambling Issues International (a listserve for gambling treatment professionals). Our examination of movies was restricted to movies released in cinemas (i.e., not television), and filmed in English (with one exception, Pig’s Law)…In all cases, either the first or second author viewed each film. In some cases both authors viewed the same film separately. The authors then discussed the themes that they thought were depicted in the film. The authors then collected the descriptions of movies and organized them into general themes”.
After viewing (and re-viewing) the films, the authors found eight themes (often overlapping) represented in the movies watched. More specifically these were the themes of: (1) pathological gambling (films such as Fever Pitch, The Gambler, Owning Mahowny, Pig’s Law, etc.), (2) the magical skill of the professional gambler (Rain Man, Two For The Money, The Cincinatti Kid, Maverick, etc.), (3) miraculous wins as happy endings (The Cooler, The Good Thief, Two For The Money, etc.), (4) gamblers are suckers (Casino, Croupier, Two For The Money, etc., (5) gamblers cheat (Rounders, The Sting, House of Games, The Grifters, etc.), (6) gambling is run by organized crime (The Godfather, Casino, Get Shorty, etc.), (7) the casino heist (Ocean’s Eleven, The Good Thief, Croupier, etc.), and (8) gambling as a symbolic backdrop to the story (Leaving Las Vegas, Pay It Forward, Fear and Loathing in Las Vegas, etc.).
After this initial content analysis, Dr. Turner and his colleagues organized these eight themes into a general taxonomy of films. They reported that:
“First these films can be divided into two categories: films in which gambling is a central focus of the film, and others where gambling is a relatively minor topic but serves a symbolic role in the film. The films that are about gambling can be further divided into those that present generally negative views of gambling (e.g., pathology, crime, cheating) and those that present a generally positive image of gambling (e.g., magical skills and miraculous wins). The positive image is mainly related to the ability of the player to win (by skill or by miracle), but some of these films also add additional positive images by hinting at a glamorous and exciting lifestyle (The Good Thief, James Bond films, Rounders). Negative images of gambling are more common than positive images of gambling. Negative images were further divided into pathological gambling, suckers, cheaters, organized crime, and robbing casinos”.
They also go on to note that: very few films show ordinary people gambling non-problematically:
“Throughout the history of movies, gambling-related stories have been present. Movies about gambling are most often inhabited by problem gamblers (e.g., The Gambler), cheats (e.g., Shade), criminals (e.g., The Godfather, Ocean’s Eleven), spies (e.g., Diamonds are Forever), people with incredible luck (e.g., Stealing Harvard), and professional gamblers (e.g., Rounders, The Hustler). With the exception of The Odd Couple (1968), we have come across few movies that show ordinary people gambling in a non-problematic manner”.
With regards to problem and pathological gambling they conclude that:
“Some movies provide important insights into the nature of pathological gambling (e.g., The Gambler, Owning Mahowny, The Hustler). However, others make light of the disorder or indulge in the wishful thinking common with pathological gamblers (e.g., Let It Ride, The Cooler, Fever Pitch, The Good Thief). In some movies people develop a problem too quickly (Viva Rock Vegas, Lost in America). Some films take the view that all gamblers are addicted (Croupier, Two for the Money)…Most films about pathological gambling depict a narrow segment of the problem gambling population focusing on the male “action” gambler (see also Griffiths, 2004). Most pathological gamblers simply do not embezzle millions of dollars as in Owning Mahowny or take stupid risks just for the thrill of it as in The Gambler. Films rarely show gamblers hooked on slot machines or other electronic gambling machines even though such machines, where they are available, now account for a majority of problem gamblers in treatment”.
Obviously the sample of films chosen was selective and there were over a hundred films that weren’t analysed. However, even though the study was published ten years ago I don’t think the results (if repeated on more contemporary films) would be particularly different.
Dr Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Dement, J.W. (1999) Going for broke: The depiction of compulsive gambling in film. Lanham, MD: The Scarecrow Press, Inc.
Griffiths, M.D. (1989). Gambling in children and adolescents. Journal of Gambling Behavior, 5, 66-83.
Griffiths, M. (2004). An empirical analysis of the film ‘The Gambler’. International Journal of Mental Health and Addiction, 1(2), 39-43.
Gluss, H.M. & Smith, S.E., (2002). Reel people: Finding ourselves in the movies. Keylight: Los Angeles.
Turner, N. E., Fritz, B., & Zangeneh, M. (2007). Images of gambling in film. Journal of Gambling Issues, 20, 117-143.
In a number of my previous blogs, I have mentioned sexual paraphilias that appear to have been derived from the opposite phobic behaviours. Some examples include defecaloesiophilia (sexual arousal from painful bowel movements), lockiophilia (sexual arousal from childbirth), categelophilia (sexual arousal from being ridiculed), and rupophilia (sexual arousal from dirt). Another one that I could add to this list is climacophilia (sexual arousal from falling down stairs). This particular paraphilia got a lot of media publicity a few years ago when Dr. Jesse Baring was plugging his 2013 book Perv: The Sexual Deviant In All Of Us. (which I will return to below; I ought to confess that I love reading Baring’s populist articles and Professor Paul Bloom [of Yale University] went as far as to describe him as the “Hunter S. Thompson of science writing.”). Climacophilia appears to be the opposite of climacophobia. The Wikipedia entry notes that:
“Climacophobia is the fear of climbing, especially using stairs. It is a type of specific phobia. Climacophobia is distinct from bathmophobia the fear of stairs themselves. Climacophobia is usually traced back to a negative experience, like falling down the stairs or having difficult time to climb stairs. The fear is also triggered by others, like witnessing somebody falling down stairs (either in real visualization or through media) or the other people he/she knows is suffering from climacophobia. Sufferers of climacophobia, if left untreated, end up limiting their activities and avoiding occupations that require the use of stairs or ladders. Sufferers tend to rely on elevators or disability-access ramps rather than stairs…Climacophobes tend to suffer from dizziness resembling vertigo when looking down stairs…Climacophobia can be treated using cognitive behavioural therapy [CBT], either independently or in tandem with other techniques. CBT can help sufferers stop negative thoughts about climbing while changing behaviors. Other treatment options include relaxation techniques, talk therapy, and medication for people who suffer severely from climacophobia”.
In Dr. Anil Aggrawal’s 2009 book Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices, climacophilia makes a seven-word entry between ‘clinical vampirism’ (arousal by drinking human or animal blood) and ‘coitobalnism’ (having sex in the bath), and is simply defined as deriving pleasure from falling down stairs. There was no mention of it all in Dr. Brenda Love’s Encyclopedia of Unusual Sex Practices. Various websites provide definitions including the Pro Boner website (“Climacophilia is an intriguing paraphilia characterised by sexual arousal to falling down the stairs. Climacophiles have their best orgasms when they’re falling down the stairs”) and the Buzz IO website (“Climacophilia is being sexually stimulated by seeing someone fall down a flight of stairs”). When reviewing Baring’s book, the New York Times defined it as “the erotic compulsion to tumble down stairs”. Wikipedia also has a short entry and simply states:
“Climacophilia is a rare sexual paraphilia, or fetish in which the subject experiences erotic gratification when falling down the stairs. There hasn’t been a wide body of research conducted on people affected with this particular sexual preference and/or fetish”.
All of these definitions and snippets imply slightly different things relating to the same alleged behaviour. While all involve some kind of sexual arousal from falling down stairs, the New York Times says the behaviour is an “erotic compulsion” whereas most others describe the behaviour as arousing, stimulating, and pleasurable (without being compulsive). One definition involves ‘orgasm’ being involved while the rest do not. The Wikipedia entry seems to imply that the paraphilia exists (it says “rare” rather than non-existent). The entry also says there “hasn’t been a wide body of research” suggesting there is some (perhaps a narrow body of research) – but that clearly isn’t the case. There’s none.
The journalist David DiSalvo interviewed Dr. Baring for Forbes magazine in relation to his book Perv, which covers 46 different paraphilias (all of which are listed in an article in the Huffington Post) – with paraphilias being defined by Baring as being “primary attraction to a target or activity outside of the statistical norm”. Although I agree that paraphilias tend to be non-normative, I’m not whether I’d ever use the phrase “outside of the statistical norm” as there are some paraphilic behaviours that the majority of sexually active individuals are likely to have engaged in at least peripherally (such as bondage and other milder forms of sadomasochistic behaviour). In relation to the paraphilias outlined in his book, baring told DiSalvo that:
“These included both exceptionally rare paraphilias (such as ‘climacophilia’ in which a person can only get off while tumbling down a flight of stairs) and the more run-of-the-mill ones that are detailed in the DSM-V, such as voyeurism, sadism, and frotteurism (which is gratification by touching people in crowded public places, such as subways). But that’s just a small sampling. The most authoritative list, cobbled together by an Indian psychiatrist named Anil Aggrawal, includes a total of 547 distinct paraphilias”.
If you type in Baring’s name and his book into Google, many articles appear which mention ‘climacophilia’. For instance, in an interview with Vice magazine, the journalist (Nadja Sayej) began her article by saying:
“You may have recently seen the soft-spoken Jesse Baring on Conan recalling the strangest of sexual fetishes. Be it arousal from falling down the stairs (Climacophilia) or feeling steamy from rolling around in stones and gravel (Lithophilia), nothing surprises the Western New York author and psychologist”.
Baring was asked by Sayej what the weirdest fetish he had come across but there was no mention of climacophilia (probably because no-one has ever come across it):
“According to a recent forensic resource by the psychiatrist Anil Aggrawal, there are 547 documented paraphilias. Some of them – actually, most of them – are quite carnival-like. But it’s important to remember that these more exotic manifestations of sexuality might be represented by just one lone figure in the universe: a single, sad, lascivious soul who can only, just to give two random examples, have an orgasm while fondling a mouse (“musophilia”) or while rolling around in ferns (“pteridomania”). It’s virtually impossible for me to pick the weirdest, since so many of them would fit the bill for truly bizarre. I’m reminded of one of my favorite quotes in this literature, from a sex research pioneer named Wilhelm Stekel – who, incidentally, coined the word ‘paraphilia‘ in the 1920s. “Variatio delectat! How innumerable are the variations which Eros creates in order to make the monotonous simplicity of the natural sex organ interesting to the sexologist”.
I have spent hours online trying to track down any evidence that climacophilia exists and I have drawn a complete blank. Yes, there are lots of mentions of it (particularly in the articles on Baring’s book) but no dedicated articles (except a satirical one that I came across on the Dumb Buzz Feed website which you can read here). There are no online forums where like-minded climacophiles congregate and there are no climacophiles that have written so much as a one-sentence confession of being sexually aroused either by falling down stairs or watching others fall down stairs. In an academic review of Baring’s book, in the journal Sexual and Relationship Therapy, Dr. David Ribner made a specific reference about Baring’s inclusion of climacophilia and said it was “incredulous…is there really someone out there who can only achieve orgasm by falling down a flight of stairs?”
Based on my own research I think I can answer that question in two letters. No.
Aggrawal A. (2009). Forensic and Medico-legal Aspects of Sexual Crimes and Unusual Sexual Practices. Boca Raton: CRC Press.
Baring, J. (2013). Perv: The Sexual Deviant In All Of Us. New York: Scientific American/Farrar, Strauss & Giroux.
Bergner, D. (2013). Acquired tastes. ‘Perv’, by Jesse Baring. New York Times, October 4. Located at: http://www.nytimes.com/2013/10/06/books/review/perv-by-jesse-bering.html
DiSalvo, D. (2013). Getting in touch with your inner sexual deviant. Forbes, October 24. Located at: http://www.forbes.com/sites/daviddisalvo/2013/10/24/getting-in-touch-with-your-inner-sexual-deviant/#6f0f5548568e
Dumb Buzz Feed (2015). 7 problems only people with climacophilia will understand. May 3. Located at: https://dumbuzzfeed.wordpress.com/2015/03/05/7-problems-only-people-with-climacophilia-will-understand/
Huffington Post (2013). 46 sexual fetishes you’ve never heard of. October 23. Located at: http://www.huffingtonpost.com/2013/10/23/sexual-fetish_n_4144418.html
Love, B. (2001). Encyclopedia of Unusual Sex Practices. London: Greenwich Editions.
Ribner, D.S. (2013). A review of ‘Perv: The sexual deviant in all of us’, by Jesse Baring. Sexual and Relationship Therapy, 30, 297-300.
Back in May 2014, I gave a whole afternoon of talks on behavioural addictions (including gambling and gaming addiction) at Castle Craig, an inpatient addiction treatment centre in Scotland. One of the most interesting people I met there was the psychotherapist Christopher Burn who on the back of his latest book Poetry Changes Lives describes himself as “a history addict, grandfather, recovering alcoholic, and poetry fanatic”. Maybe I’ll write a blog on what it is to be a “history addict” in a future blog, but this article will briefly look at an article just published by Burn on ‘poetry addiction’.
Anyone that knows me will tell you that writing is an important activity in my life. Many of my friends and colleagues describe me as a ‘writaholic’ and that I am addicted to writing because of the number of articles that I have published. Regular readers of my blog will also know that I have written articles on obsessional writing (graphomania), obsessional erotic writing (erotographomania), diary writing, excessive blog writing, and excessive (productive) writing.
Although I wouldn’t describe myself as a ‘poetry fanatic’ I do love writing poetry myself and have had a number of my poems published. In fact, in 1997, I won a national Poetry Today competition for the best (20 lines and under) poem for An Alliteration of Life. Burn’s article on ‘addiction to the act of writing poetry (like his latest book) is an interesting read. Burn has even coined a new term for addiction to poetry – ‘poesegraphilia’. Burn notes that the Irish dramatist George Farquar said that poetry was a “mere drug” and that:
“Many poets, great and not so great, have suffered from addiction to mood altering substances – Coleridge, Rimbaud and Dylan Thomas (‘the Rimbaud of Cwmdonkin Drive’) spring to mind. Many great poems have been written about addiction too. It seems however that very little attention has been given to the addictive power generated by the act of writing poetry itself. One thing is for sure – poetry has a power to alter our mood – not normally in the pernicious or directly physical manner of say, a line of cocaine, but in a pervasive and generally enjoyable way that can usually only be helpful. This mood changing effect can come from either reading or writing poetry but of the two, it is poetry writing that is the most dramatic”.
As an amateur poet myself, I know only too well the emotional power of words and that words can have a mood altering effect (both positive and negative). There is even ‘poetry therapy’ and (in the USA) a National Association for Poetry Therapy and an Institute for Poetic Medicine that advocates the “intentional use of poetry and other forms of literature for healing and personal growth”. (For a concise overview of ‘poetry therapy’ check out this article on the GoodTherapy website). Burn says that “writing poetry may not affect a person’s life with the degree of powerlessness and unmanageability that say, alcohol does, but it can still have a very marked influence”. He then includes part of an interview transcript from BBC Radio 4’s Desert Island Discs programme with Les Murray, an Australian poet:
“It’s wonderful, there’s nothing else like it, you write in a trance. And the trance is completely addictive, you love it, you want more of it. Once you’ve written the poem and had the trance, polished it and so on, you can go back to the poem and have a trace of that trance, have the shadow of it, but you can’t have it fully again. It seemed to be a knack I discovered as I went along. It’s an integration of the body-mind and the dreaming-mind and the daylight-conscious-mind. All three are firing at once, they’re all in concert. You can be sitting there but inwardly dancing, and the breath and the weight and everything else are involved, you’re fully alive. It takes a while to get into it. You have to have some key, like say a phrase or a few phrases or a subject matter or maybe even a tune to get you started going towards it, and it starts to accumulate. Sometimes it starts without your knowing that you’re getting there, and it builds in your mind like a pressure. I once described it as being like a painless headache, and you know there’s a poem in there, but you have to wait until the words form”.
I’ve always argued that anything can be addictive if it is something that can constantly reinforce and reward behaviour. Theoretically, there is no reason why writing poetry could not be mood modifying and potentially addictive. As Burn observes:
“Many poets talk about the dream-like trance that envelops them during the act of creating poetry and how this can last sometimes for days. This is not a simple cathartic event, which can happen too, but a state that affects mind, body and spirit. Here is poet and author Robert Graves on the subject: ‘No poem is worth anything unless it starts from a poetic trance, out of which you can be wakened by interruption as from a dream. In fact, it is the same thing’. All this trance-like sensation sounds to me a bit like the effect that certain mood altering substances can have, and we know how addictive they can be”.
Burn then goes on to question whether the act of writing poetry can be clinically classed as an addiction. To do this, he uses criteria from the Diagnostic and Statistical Manual of Mental Disorders [DSM] and argues that the act of writing poetry could potentially meet some of the criteria for addiction including: (i) persisting with the habit to the detriment of other activities and relationships, (ii) increased tolerance, (iii) unsuccessful attempts to stop, (iv) increase in time spent on the activity, and (v) persisting with the habit despite knowledge of negative consequences. Based on this he then goes on to argue:
“It seems to me that there is enough anecdotal evidence to indicate that for some people, poetry, in particular the act of writing poetry, is a powerful and addictive behaviour that meets at least a few of these [DSM] criteria…Problem gamblers often talk of the trance-like state they get into when for example, playing slot machines; reality and awareness of the world around them disappears and everything is focused on them to and the moment. As in poetry writing. British poet JLS Carter describes poetic creation as ‘An addiction – you can go for days thinking of nothing else, in a kind of trance where all other thoughts and considerations are sidelined. That way madness lies’. By its very nature, poetry puts a special power into words that affects us in a way that most conversation or written narrative does not. Poetry gets under our skin, alters our moods and stays in our head in a special way”.
Much of Burn’s admittedly anecdotal argument that poetry can be addictive all comes down to how addiction is defined in the first place and also takes the implicit view that some activities can be what Dr. Bill Glasser would call ‘positive addictions’ in that there are some behaviours that can have positive as well as negative consequences. However, for me, there is also the question of whether positive addictions are “addictions” at all. Have a quick look at Glasser’s criteria for positive addictions below. For an activity to be classed as a positive addiction, Glasser says the behaviour must be:
- Non-competitive and needing about an hour a day
- Easy, so no mental effort is required
- Easy to be done alone, not dependent on people
- Believed to be having some value (physical, mental, spiritual)
- Believed that if persisted in, some improvement will result
- Involve no self-criticism.
Most of these could apply to ‘poetry addiction’ but to me, these criteria have little resemblance to the core criteria or components of addictions (such as salience, withdrawal, tolerance, mood modification, conflict, relapse, etc.). My own view is that ‘positive addiction’ is an oxymoron and although I am the first to admit that some potential addictions might have benefits that are more than just short-term (as in the case of addictions to work or exercise), addictions will always be negative for the individual in the long run. Although no-one is ever likely to seek treatment for an addiction to writing poetry, it doesn’t mean that we can’t use activities like writing poetry to help us define and refine how we conceptualize behavioural addictions.
Burn, C. (2015). Poetry Changes Lives. Biggar: DHH Publishing.
Burn, C. (2016). Poesegraphilia – Addiction to the act of writing poetry. Poetry Changes Lives, May 27. Located at: http://www.poetrychangeslives.com/addiction-to-the-act-of-writing-poetry/
Glasser, W. (1976), Positive Addictions, Harper & Row, New York, NY.
GoodTherapy.Org (2016). Poetry therapy. Located at: http://www.goodtherapy.org/learn-about-therapy/types/poetry-therapy
Griffiths, M.D. (1996). Behavioural addictions: An issue for everybody? Journal of Workplace Learning, 8(3), 19-25.
Griffiths, M.D. (2005). A ‘components’ model of addiction within a biopsychosocial framework. Journal of Substance Use, 10, 191-197.
Griffiths, M.D. (2011). Behavioural addiction: The case for a biopsychosocial approach. Trangressive Culture, 1, 7-28.
Klein. P. (2006). The therapeutic benefit of poetry. The Therapist. Located at: http://phyllisklein.com/writing-for-healing/the-therapeutic-benefit-of-poetry/
Larkin, M., Wood, R.T.A. & Griffiths, M.D. (2006). Towards addiction as relationship. Addiction Research and Theory, 14, 207-215.