Article
Change
Death & life
Mental Health
Psychology
4 min read

Letting go and welcoming in

Your new life will cost you your old one. It's OK.

Mica Gray is a wellbeing practitioner working in adult mental health. She is training to be a counselling psychologist.

A family with a mother holding a small child, look up and to the left.
Eduardo Fernando on Unsplash.

Last week my family laid my great-grandmother to rest. A few hours afterwards, we celebrated my cousin's birthday. 

It felt strange to go from a place of death to a place of life in the space of a day. One minute I was throwing flowers into the open grave of a woman whose earthly life has come to an end and the next I was in a restaurant handing flowers to a girl whose life as a woman is just beginning. The contrast was a bit surreal, but much of life is like that; beginnings and endings flowing into each other. The transition between the two events was made easier by the fact that the funeral did not really feel like one. In alignment with my great-grandmother’s spiritual beliefs, the ceremony was very simple. It was over in less than four hours and featured a short reading of spiritual texts and quiet, reverent reflection. There were no solemn looks, no songs of lament, no dirt shoveling, no loud wailing or aunties and uncles dancing to Beres Hammond at the reception. Instead, there was just the quiet nod of acknowledgement that her spirit has journeyed on. 

Though I missed the eulogies and shared tears that usually detail funeral services, I appreciated the simplicity of the ceremony. I appreciated the way death was described as a transition of the spirit into a new kind of life, the way it was treated as something so normal. Which in fact it is. Death is happening around us every day yet as a society it is something that we struggle with - whether it’s the death of a loved one, a career, a relationship or a part of ourselves. Our attempts to curate eternity with anti-aging procedures and technological permanence betray how deeply uncomfortable we are with the inevitability of endings in our modern world.  

And to be honest, of course we are. The loss of loved ones shakes entire worlds. Job losses throw our lives into instability and leave us feeling unsafe. The loss of youth and power challenges long held ideas of identity and invites existential anguish. Divorce carries with it its own special grief. The pain of these experiences makes it hard for us to embrace when things are ending in our lives and make it hard for us to let go, even when we need to.  

And we do often need to. 

What fears, habits, thoughts or behaviours need to be given to the earth? What cycles or patterns do we need to bury and mourn so that we can usher in new and better ways of being? 

Lately I’ve been thinking about the saying ‘your new life will cost you your old one’ and how true that is in many areas of our lives. In my own life, I recently started a new role at work that has cost me the comfort of my old one. I have had to give old versions of myself to the ground and shed skin so that I can continue to grow into the space of it. This new year of doctoral study has cost me Saturdays spent lazing around with friends, new relationships have cost me old patterns of behaviour and new depth in old relationships have cost me pride and ego. 

At each point of transition, I have been asked to leave something behind to experience something new and it seems like so many of us at the moment are being asked to do the same. People are moving houses, leaving jobs, leaving seats of power, churches, ending relationships, wrestling with friendships, forming new ones and experiencing ego-deaths. 

Like my cousin, some people are exchanging adolescence for adulthood. Others, like my great-grandmother, are exchanging their earthly bodies for their spiritual ones. 

In this moment individually, politically and spiritually - it seems like we’re collectively being asked the question: what are we needing to let go of? and then what do we need to welcome in? What fears, habits, thoughts or behaviours need to be given to the earth? What cycles or patterns do we need to bury and mourn so that we can usher in new and better ways of being? 

When life asks us questions like this it can feel overwhelming or intimidating to confront, but it is always necessary. I have found that when you do not allow yourself to grow out of old skin you will suffocate within it. The times of transition that we find ourselves in ask us to trust that something greater is unfolding. They ask us not to resist change but to flow with it. Not to forsake the present or the future by holding on to what has gone to the grave, but to be open to what is next. 

As strange as it was last week to celebrate a birthday after a funeral, it was a reminder that though endings are painful we can embrace them because they usher in new beginnings. It was a reminder that funeral clothes can be exchanged for dancing shoes and that mourning can be exchanged for joy. 

Overall, the day was a reminder that if we make room for it, life can follow death, both in this earthly life, and into the next. 

Selah. 

 

This article was first published on Substack. Follow Mica there.

Review
Culture
Film & TV
Mental Health
Music
4 min read

Deliverance in the dark: Springsteen’s Nebraska and the scars that shaped it

His starkest album emerged from a season of pain, where family, faith, and music collided

Giles is a writer and creative who hosts the God in Film podcast.

An actor playing Bruce Springsteen walks down a dark street, hands in jacket pocket.
Jeremy Allen White plays Springsteen.
20th Century Studios.

Springsteen: Deliver Me From Nowhere, starring Jeremy Allen-White as the titular rock star, follows Bruce Springsteen's attempt to make possibly his most unconventional album, Nebraska. This also happened to be one of the most difficult times of Springsteen's life, battling with mental health. Before the film's release, let's briefly explore some of the root causes of Bruce's depression, and find out what part family and the church had to do with it.

When it comes to Springsteen's discography, there's something of a disconnect between the casual fans' favourite and the album favoured by critics. Born in the USA is the monster hit album, with its era defining hits and blue-collar Americana. But Nebraska is the one that musicians and writers wax lyrical about. Written and recorded in a small bedroom in Colt's Neck, New Jersey, Nebraska is an album filled with acoustic melancholy folk tracks. With no conceivable singles and no chance of getting radio play, this was not the album that Columbia records wanted him to make, but it's the album Bruce felt he had to make.

"Nebraska was the pulling back of the bow, and Born in the U.S.A. was the arrow's release" writes Warren Zanes in his 2023 book, Deliver Me From Nowhere. In it, Zanes tracks with loving detail not only the technical problems of turning recordings that were only meant to be demos into songs that you could feasibly release, but also the mental health struggles that had driven Bruce to focus on such dark subject matter. It marked a moment of the artist unpacking his issues and answering the question: what do you do when you realise that the things you've loved most have begun to do you harm?

That harm can be traced back to Springsteen's early life in 1950s New Jersey. His father, Douglas 'Dutch' Springsteen, also suffered from mental health problems, at a time when there wasn't even the vernacular to describe such things. Dutch would grow to become jealous of the attention that his young son would get from the women in his family, which would exacerbate his existing paranoia. As well as being neglectful and demeaning, Dutch would also become violent towards his son. Springsteen describes in his autobiography how on one occasion, his father was teaching him how to box when Dutch threw a few open palm punches to his face that landed just a little too hard. "I wasn't hurt" Bruce writes "but a line had been crossed. I knew something was being communicated. […] I was an intruder, a stranger, a competitor in our home and a fearful disappointment". If this was young Bruce's experience at home, little respite was found in the outside world.

Springsteen grew up quite literally in the shadow of the Catholic church, and it permeated every aspect of his community. Bruce attended a Catholic school, where on one occasion he was hit by another student as a punishment from one of his teachers. This was compounded during his time as an altar boy, when the priest he was serving at a six am service gave him a public thrashing for not knowing his Latin. So before Springsteen started high school, he had been physically abused by his father, his school, and his religion. When these pillars of his life (who were meant to represent God to him) treated him this way, is it any wonder that young Bruce's take away from all this is that God is not a safe person to be around?

Years later, when Springsteen finally takes a break from the constant recording and touring cycle, he has no way to escape the damage done to him by the experiences of his early life. In Nebraska he illustrates the lives of down and outs, blue collar workers striving to get by, and even serial killers. The subject matter was so dark that when his manager Martin Landau first heard it, he started to worry about Springsteen's mental health. Thankfully, Springsteen would get the help he needed and forty years later, is a terrific example of someone who has done the work of tackling their own issues.

Where Bruce has landed on his relationship with God some forty years later is still quite hard to pin down. He's reluctantly adopted the adage of 'once a Catholic, always a Catholic' even if he admits he doesn't participate in his religion all too often.

There's no clear delineation point between him going from being a non-believer to a believer or vice versa, but that has not stopped him from creating some truly magnificent art with intense Christian themes. References to Jesus and the gospels pepper much of his musical output. Songs like Devils and Dust show the conflicted faith of a soldier in Iraq, whilst his song, The Rising, written in response to the terrifying events of September 11th, re-imagines the firefighters climbing the stairs of the twin towers as souls rising up to meet their maker. The finished product is a compelling anthem that would give even the most heartfelt worship song a run for its money.

It's quite possible that Bruce is interested in Christianity only in as much as it is woven into the thread of American life. How much the upcoming film will focus on his relationship with God or lack thereof is unknown, but the influence the church has had on him, for better or for worse, is undeniable.

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