Recently I came upon an article in The Psychotherapist magazine which highlights the close parallels between the novel and the process of psychotherapy.
In her article Psychotherapy and the Novel, in issue 56 Spring 2014 edition, the author (therapeutic counsellor Rosamond Williams) makes the point that only the novel (of all the narrative art forms) offers a parallel detail to the process of psychotherapy, in the exploration of relationships, thoughts and feelings.
Rosamond Williams cites as examples the following novels: Jane Austen’s Emma, George Eliot’s Daniel Deronda, Dickens David Copperfield, George Eliot’s The Mill on the Floss and Charlotte Bronte’s Jane Eyre, as well as Doris Lessing’s The Golden Notebook.
In all of these we can trace the hero or heroine’s learning curve through their confusions and unsatisfactory relationship to resolution: a very therapeutic experience for the reader as well as for the main protagonist.
I can bear out everything she says not only in my reading, but in my own novel-writing.
In Jane Austen’s Price and Prejudice for example, I believe there are many other universal truths, equally valid for our own lives in 2014 just as they were in Regency England, that we can learn, well beyond the ironic and flippant one in the first line: that a single man in possession of a fortune must be in want of a wife.
Here’s just a small selection of the truths, helpful for a therapeutic journey, that I’ve picked out from Pride and Prejudice:
1) even the most outrageous person, behaving badly, can end up getting what he or she wants;
2) no matter how mortifying and objectionable, that person can still be playing a vital part in the chain of events leading to a final positive outcome;
3) when you’re at your saddest and most disappointed, convinced you’ve lost all your hopes and dreams, you don’t know what is going on behind the scenes;
4) when all seems lost, help can sometimes come from the most unexpected quarter;
5) sometimes people do the most disgraceful things and end up triumphing through it, because of the links and connections they’ve unwittingly set up between other people;
6) sometimes you can, through your own wrong-headedness and flawed attitude, interfere to try and stop a certain event happening, and end up being the vital factor that facilitates it.
I can identify, too, with the psychotherapeutic journey in my own fiction-writing. In my upcoming novel A Passionate Spirit, my heroine, Zoe, sees her situation as perfect and ideal; when negative influences start to creep in, she denies them; through her stubbornness she continues her denial until she is goaded by a friend with a totally different outlook on life to recognise the threat for what it is. Only when the antagonism has become too great for her to ignore, she makes a critical choice to take responsibility and act to oppose the menace which is engulfing her life.
To me this closely parallels the journey one may take in psychotherapy.
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