NYIPT  TODAY                            Fall 2009   Volume 7, Number 1

The Magic Years and the Mythic Child

Simone Sternberg, Ed.D

Clinicians have long written about magic, myth, fantasy and reality and how they pertain to childhood. I will refer to several important concepts, and then I will describe a case that will serve as an example.

Selma Fraiberg, in “The Magic Years,” viewed a child’s first six years as the magic ones for the child who is nurtured, loved, sheltered, and able to give free reign to imagination, play and fantasy.  The advent of school and societal expectations can rudely intervene, as the child needs to cope with realities imposed by others.  Unfortunately some children don’t have the luxury of magic years, sometimes raised in the cauldrons of poverty, drug and alcohol addiction, imprisoned parents, absent fathers, abuse and death.

Some of our master teachers have given us ways to think about what children go through. Ernst Kris wrote how a “Personal Myth” can be erected defensively, grandiosely, and at times, pathologically.  Annie Reich wrote about how children learn to evaluate their potentialities and accept their limitations, and how they sometimes develop pathologic self-esteem regulation.  Joyce McDougall, in “Plea for a Measure of Abnormality” and “Theatres of the Mind,” looks at the non-normal, the paranormal and the creative potentials of the self in contradistinction to the “normal” status quo.  Charlotte Schwartz wrote about grandiosity and reality in “Oedipal Myths and Fantasies,” and I have examined some of these issues in my paper, “The Fairy Godmother and the Wicked Witch of the West.”

DW Winnicott wrote about the “True Self” and “False Self,” and the idea of “Transitional Space,” in “Playing and Reality.”  In the transitional space, play and therapeutic actions and interactions enable various parts of the self to come to the fore.  The child is the playwright, director and actor in his play. 
Historically, fairy tales, folk tales and myths would aid and abet the fantasy lives of children through literature, but in modern culture, this happens through film, television and video games.

To illustrate some of these ideas, I’ll write about Johnny, a nine-year-old boy, in therapy with a talented, empathic therapist who is in supervision with me.
 
Case Example:

Johnny is a tall, good looking 9-year-old boy who was born in this country.  He comes from a Central American family who are very attached to their culture, language and values.  His maternal grandmother lives in the “old country,” and expects him to come back to choose a bride.  He is already anticipating the search for this chosen one to whom he will teach English.  Johnny was mandated for therapy due to problems at school, including, distractibility, ADHD, and panic attacks. 

Johnny is the middle child from an intact family, with an older and younger sister.  While his father is caring and attentive to his son, he is often not around, and when he is, he has a macho persona and appearance.  There is always an implicit pressure on Johnny to be the “man” of the family, the macho son. 

In some ways Johnny lives in a clash of cultures – from a close-knit Hispanic family at home, and an American on the street and at school.  There are many differences between these cultures, with differing expectations, styles of child rearing, family dynamics, and social milieu that all impact this family.  Johnny is in the midst of forming his identity, gender-wise and self. He has recently been preoccupied with bad things that can happen, having fallen on ice a few months ago, breaking an arm and a leg. 

Johnny is a gifted artist and produces intricate and evocative drawings in comic book style, with himself as Super Hero.  In his art, Johnny works through many of his conflicts. He is sometimes identified as “Johnny Spectro,” (short for Inspector with perhaps a link to his Spanish language), and as “Johnny Lightening.”  [Of note: in Navajo myth, the Warrior is often depicted with bolts of Lightening in his hands.  Lightening can destroy the enemy, but can also enlighten and throw some light on the subject.]

Johnny’s sisters and friends appear in his drawings with special powers.  One friend becomes “Firefly,” so she can have the power of fire and to fly, perhaps akin to his “Lightening” persona.   Another becomes “TeleTiff” with telepathic powers who can read people’s minds.  The TeleTiff uses these gifts to fight crime and to help people. [This is a way that he depicts his therapist].    

   
Johnny brings some of his drawings to therapy and the therapist asks him to tell stories about the pictures which the therapist writes down and discusses with Johnny.  In these drawings and stories he has created different worlds, differing “realities.”  Through the stories, drawings, and their work together, Johnny has become better able to understand some of his aggression, conflicts, fears and dreams.  This work in play therapy is akin to dream interpretation; it elicits much creativity on the parts of both the child and his therapist.  Through this work in therapy, Johnny is learning to take pleasure in his talent. Over time he has become a very accomplished artist, particularly for a child of nine. Johnny is learning that by sharing his fantasies, stories and creativity with his therapist, he can come to know what is in his mind, and this will not only enrich his life but will also give him new choices. Johnny has learned that the different Johnny personas can work together as a team to enhance himself and not be destructive. Through working in his therapy, Johnny has become more at ease in his different worlds and is becoming a more intact self.  

My special thanks to Melba Vilar, my supervisee who is working so effectively and caringly with Johnny. Simone Sternberg, Ed.D