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Dr. Miller explores the clues, often overlooked in biography, that connect unnoticed childhood traumas to adult creativity and destructiveness.
- Sales Rank: #322588 in Books
- Brand: Miller, Alice/ Hannum, Hildegarde/ Hannum, Hunter
- Published on: 1991-02-01
- Released on: 1991-02-01
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .42" w x 5.19" l, .43 pounds
- Binding: Paperback
- 192 pages
Amazon.com Review
One troubled child channels her pain into art; another vents his anguish in destructive acts. What makes the critical difference in the way each translates childhood suffering? Combing the life histories of Picasso, Buster Keaton, Nietzsche, Hitler and others, Miller concludes that the presence of an enlightened witness--someone who offers a contrast to cruelty--tips the balance between constructive expressions of "forgotten" trauma and repetitions of internalized inhumanity. She argues eloquently throughout that when adult authoritarian needs suppress children's true needs, there are dangerous societal consequences.
Language Notes
Text: English, German (translation)
About the Author
Alice Miller, Ph.D., practiced and taught psychoanalysis for over twenty years before devoting herself to writing in 1979. She is the author of the bestselling "Prisoners of Childhood" (reissued in paperback as "The Drama of the Gifted Child") and "For Your Own Good: Hidden Cruelty in Child-Rearing and the Roots of Violence", as well as numerous other books. Miller lives in Zurich, Switzerland.
In 2005 Donald Miller started"The Mentoring Project, " an organization that helps churches start mentoring programs and pairs mentors with boys in need. Don's work with the fatherless led the Obama administration to invite him onto the president's task force on fatherlessness and mentoring. Donald is the director of "The Burnside Writers Collective", an online magazine. He is a frequent speaker, appearing at events such as the Women of Faith Conference, The Democratic National Convention, and Harvard University. He still lives in Portland, Oregon with his dog Lucy
Most helpful customer reviews
59 of 61 people found the following review helpful.
Extraordinary Insight
By jumpy1
In The Untouched Key, the great psychiatrist Alice Miller has written another penetrating work about the manifestation of subconscious experiences into the conscious world. As far as I am concerned, most of the more recent modern writers on the subject have little to add to works like this one. Here is a highly respected and successful therapist, who went out on a limb and confessed to her colleagues, at a time when she could have been basking in the glory of seniority, that she finally realized she only went into the field to learn how to heal her own pain; and then had the courage to withdraw her membership from psyciatric associations once she realized their hypocrisy (which she took full responsibility for in herself, as well).
In this very fine but brief work, Alice Miller studies pivotal works of art and compares their content with the life stories of their creators. The resulting analysis is impeccably true-to-life and highly plausible. She does not trivialize art in doing so, but makes a sound case for how artistic expression could be the great liberator of mankind, and brings us to even greater respect of the artists she discusses. Whether they knew it or not (probably not?) their unrestrained creativity is presented as a gift to teach and inspire us all, subconsciously or consciously, whether or not we choose to analyze it ourselves.
61 of 64 people found the following review helpful.
Alice Through the looking glass
By A Customer
I think it is time that ALice Miller recieve the credit due her for her enormous efforts in uncovering coded childhood trauma. Her tireless work has had an transformative and empowering impact on my life and the way I view my childhood and children. In this book Alice uncovers what some people want to view as a "masterpieces" of "ART". "What is really going on here?"she asks. "Look deeper..what is this artist trying to communicate". At times Alice observes and brings to light that the artist is screaming. THis book is SO important!
38 of 40 people found the following review helpful.
Why I'm not so special (and what's so special about that)
By meeah
A few years ago the therapist I had gone to see durnig a particularly harrowing period of my life recommended I buy a copy of Alice Miller's "The Drama of the Gifted Child" since she was certain that it would speak to the particular challenges I faced. "Wow," I thought, feeling flattered, "here's one intuitive lady. She can tell right off I'm a 'gifted' individual, one of the special ones." I headed to the nearest bookstore directly after the session and bought a copy and read half of it on the bus before I even got home.
No insult, no rejection, no critical barb that I'd ever experienced so quickly, nor so thoroughly deflated my ego--nor, as it turned out, so permanently.
I think I had some notion that the book was going to confirm my lifelong notion that I was some sort of exceptional creature of starlight that my dimwitted and immature parents, so ill-suited for parenting, had all but managed to snuff out with their psychological buffooneries. Oh, they had crushed me alright, or nearly so, twisted me, stifled me to the point where I am practically beyond normal human functioning, but the culture wasn't thereby losing any luminous polestar of immortal significance. Ha! I was just a normal, abused little girl. There was nothing special about me except my terrible and unrelenting need to be special. If you took any ten people, the only difference between me and the other nine was that I thought there was a difference. I had to be different; I had to be special in order to win my parent's love; in order to justify to myself their ill-treatment of me, I had to be the disguised prince, the Cinderella mistreated like a dirty scullery maid.
That was my drama: the drama of the "gifted" child.
Unlike me, and yet, at the same time, also like me, the artists, poets, philosophers, and dictators that Alice Miller treats in her book "The Untouched Key" did become world-renowned, did achieve a cultural immortality for their achievemens, whether for good or evil--and they were also all abused as children.
Ordinarily I wouldnt subscribe to this sort of psychological reductivism, the kind that traces an artist's or philosopher's ouvre backwards to the beatings he used to get as a six-year-old or his mother's pathological coldness or whatever. But Miller's argument is not only compelling it also acknowledges that the work of the adult artist is by no means invalidated because their worldview can be traced to their mistreatment as a child. The world can be understood just as Nietzsche understood it; indeed, the fact that Nietzsche's philosophy speaks to so many, seems so dead-on accurate, is because the world--full of grown-up abused children as it is--really does operate along lines of power and submission, of the strong and the weak.
Somewhat more controversial, however, is Miller's claim that the wellsprings of so much human creativity up to this point in history are almost exclusively to be found in childhood trauma. Art and history are, in a sense, a record of child abuse!
This seems a pretty preposterous proposition until you pause, take a good look at the world, and ask yourself if there is another more plausible explanation for the universal trainwreck that is humanity's lot, and always has been humanity's lot...and will continue being our lot for whatever future we still have as a species. What, after all, Miller argues, is the single most important common experience every human being everywhere shares? A childhood is her answer. We come out of the womb naked and innocent, knowing neither hatred nor cruelty...so how could things possibly have gotten to the point they have? Where do things go off the rails? To Miller it seems obvious. It's the way we're raised...by and large by parents who were also traumatized as children, and so it goes, and will continue going.
Among others, Miller turns her attention to Picasso, Stalin, Celan, Soutine, but it's Nietzsche to whom she devotes most of her book--and a good deal of the space she devotes to him is taken up with extensive excerpts from his work meant to illustrate the effect his awful childhood had on him--an effect, she asserts, eventually drove him insane.
Miller does not deny that a Picasso or a Nietzsche were indeed special; she doesn't deny that special people do exist, or that they don't possess aptitudes beyond the ordinary; they do. But she wonders what they might have been able to produce if they had been able to use their magnificent talents unencumbered by their unhappy pasts, if they hadn't been reflecting back to the world the story of their personal abuse which is also, in microcosm, the history of humanity's abuse towards its children, an abuse so many of endured at the hands of those who had the most influence in forming our view of the world and how to survive in it.
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