untitled

CREATIVE TRANSCENDENCE: MEMOIR WRITING FOR

TRANSFORMATION AND EMPOWERMENT

Diana Raab, Ph.D.

Santa Barbara, CA

ABSTRACT: Inspired by the researcher’s experiences as a memoir writer, this qualitative narrative

inquiry research study examined the transformative and empowering dynamics of writing a memoir

in connection with transcendent/pivotal experiences. The study was informed by Maslow’s theory

of creativity and metamotivation. The five participants were esteemed writers with at least one full-

length memoir. The study offered a comprehensive profile of each participant showing the

relevance of writing as a transpersonal practice. Data collection included memoir excerpts,

interviews, lectures, and observations. Data analysis was done using thematic analysis. The findings

contribute to the ongoing knowledge of writing as a transpersonal practice. The results illustrate

the transformative and empowering dynamics of writing a full-length memoir. The writing

experience offered the participants a chance to review their lives, find resolution and redemption,

find inner peace, and establish the clarity of mind to move forward in their lives.

KEYWORDS: memoir, transformative writing, empowerment, creative transcendence, transcen-

dent experiences, Abraham Maslow, B- (being) creativity, D- (deficiency) creativity, metamotivation.

When I was 10 years old, my grandmother committed suicide in the room next

to mine. More than four decades later, after my first cancer diagnosis, I

realized what a transformative event that had been. This awareness set me on a

path to discover the reason my grandmother took her life and resulted in two

published memoirs, Regina’s Closet: Finding My Grandmother’s Secret Journal

and Healing With Words: A Writer’s Cancer Journey that helped me

understand, grow, and become empowered. This study examined the

transcendent or pivotal experiences that inspire memoir writing for transfor-

mation and empowerment in esteemed writers. Many memoir writers choose

this genre as a way to find or reclaim their voice, share a family secret, or tell a

story. The act or experience of writing brings a sense of awareness, a

transformed identity, and a deeper understanding of the individual writer’s

place in the world (Krippner, 2002; Yagelski, 2009).

In his discussion of creativity, Csikszentmihalyi (1996) said, ‘‘The real work

begins when the emotion or idea that sprang from the uncharted regions of the

psyche is held up to the light of reason … it is here that craft comes into play’’

(p. 263). The decision to write a memoir is dependent upon both intrinsic and

extrinsic factors that are illuminated by pivotal or transcendent experiences.

The intrinsic factors may relate to the individual’s emotions, and the extrinsic

factors may pertain to what occurs in his or her world. Writing about certain

Acknowledgment: The author would like to express heartfelt thanks to the following individuals for their vital

role in her research: Dissertation chair: Jay Dufrechou, Ph.D., Committee members: Dorit Netzer, Ph.D, and

Tristine Rainer, Ph.D. Also special thanks to Mark McCaslin, Ph.D. and Rosemarie Anderson, Ph.D. and other

faculty of the Institute of Transpersonal Psychology (now known as Sofia University), and her participants:

Maxine Hong Kingston, Mark Matousek, Kim Stafford, Alexandra Styron and Monica Wesolows ka, and of

course, to the editors and reviewers of the Journal for honoring my research and including it in this publication.

[email protected]

The Journal of Transpersonal Psychology, 2014, Vol. 46, No. 2 187

experiences helps provide an understanding of one’s unique self, as well as

one’s relationship with others and the world-at-large.

Maslow’s (1971) theory of motivation informed this study in that in writing a

memoir an individual might be motivated by higher means or higher truths.

‘‘They are dedicated people, devoted to some task ‘outside themselves,’ some

vocation, or duty, or beloved job’’ (Maslow, 1971, p. 291). This meta motiva-

tion may be connected to a calling, daimon, mission, or life purpose or what

inspires the self-actualized individual. This metamotivation may be connected

to what Maslow calls B- (being) creativity or creativity that arises from being

motivated by a higher level of growth. The other type of creativity coined by

Maslow is called D- (deficiency) creativity and is a type of creativity that arises

from an individual needing to fill a gap due to an unmet primary need or the

need for affirmation, acceptance and/or love.

In lieu of presenting a problem, this study presented an opportunity to examine

the transcendent or pivotal experiences that encourage individuals to choose

memoir writing to transform, grow, and become empowered. The transcendent

event may be seen as a unique experience that can confirm or affirm an

individual’s identity. The purpose of this study was to examine and interpret

the transformative dynamics of writing a memoir as elicited by transcendent or

pivotal experiences, or transformation and empowerment, resulting in an

interpretation of the experience. A transcendent experience is defined as an

experience that goes beyond the ordinary. Additionally, this study aimed to

contribute to the field of knowledge in this area by facilitating another level of

processing after an individual has written a memoir.

Compelling memoirs that express profound emotions and utilize embodied

writing may become powerful tools for transformation, as both the writer and

the reader become more aware, reflective, connected, and inquisitive about the

transcendent experience or pivotal experience that inspired the writing of the

memoir. In most cases, an individual writes a memoir because of a burning

need to share one’s story or as a way to figure something out in one’s life, and

in some cases, to bring a voice to a family secret or event. Pennebaker (1993,

1997a, 1997b) has conducted numerous studies on the therapeutic power of

writing. He found that when using expressive writing or journaling about

upsetting experiences, that narratives might not have been initially coherent,

but with ongoing writing, the narratives became even more coherent

(Pennebaker, 1993). This is indicative of the transformative and empowering

qualities of engaging a larger writing project such as a memoir. However, as far

as I have learned from my research, there seems to be a minimal amount of

empirical literature supporting the transformative and empowering dynamics

of memoir writing that is inspired by pivotal or transcendent experiences.

ETHOD

The research method used for this study was narrative inquiry. The data were

gathered via spoken and written communication with the participants, who

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shared the transformative dynamics elicited by pivotal and transcendent

experiences that inspired them to write a memoir. This method allowed for the

in-depth study of lived experiences by describing, clarifying, and bringing

awareness to a lived experience, while providing a deeper understanding of

individuals and their truths in a way that objective or quantitative studies

cannot so easily achieve. As the researcher, I read and listened to each

participant’s story and was attentive to any resonance that offered a universal

truth (Bloomberg & Volpe, 2012; Freeman, 2007; Hinton, 2012; Polkinghorne,

2005).

In narrative inq uiry, the participants recal l the lived experience and, with the

researcher, coproduce it. In this way, the researcher’s interview questions are as

important as the participant’s responses. In creating the inter view questions,

the researcher becomes an integ ral and visible part of the research and results.

Even after the published memoirs were read, an open-ended dialogue occurred

between each participant and me, an exchange that offered deeper and richer

insights into the transformative dynamics of writing a memoir. Narrative

inquiry lends itself to the use of a more creative literar y style of writing. My

personal interest in narrative provided the opportunity to interview peer

memoir writers. There was a merging of the data while corroborating the

analysis of my own story with that of the participants’ stories. The narratives

were crafted from the data by the use of reflexive, participatory, and aesthetic

processes. The interviews and published memoirs provided indirect evidence

regarding the research topic (Bloomberg & Volpe, 2012; Leavy, 2009;

Polkinghorne, 2005).

The main research questions addressed in this study were: What are the

transformative dynamics of writing a memoir elicited by a pivotal or

transcendent experience? What are the pivotal or transcendent experiences

that inspire memoir writing for transformation and empowerment in esteemed

writers? What is the impact of the pivotal or transcendent experiences in terms

of an individual’s life theme? How are those experiences representative of

Maslow’s theory of metamotivation, B- (being) creativity and D- (deficiency)

creativity?

The philosophical assumption of this study primarily entailed the trans per-

sonal paradigm and also incorporated certain aspects of the constructivist

view. The purpose of the transpersonal paradigm or approach to research

was to expand, enrich, integ rate, unify, awaken, enlighten, transcend, and

transform both the researcher and the participant. In this paradigm, the

researcher’s qualities and sensibilities played a critical role in all the phases of

research. In fact, my role as the researcher was emphasized in the transpersonal

paradigm, particularly since I already had familiarity with the area of study

and was part of the measuring instrument. In addressing the transpersonal

paradigm, emphasis was placed on the resear cher’s and participants’ personal

knowledge gained through intuition, direct knowing, empathy, and other

paranormal means. The study, therefore, explored and honored the utilization

of alternate modes of knowing.

Creative Transcendence 189

Narratives are especially important in the transpersonal paradigm because they

form the core of ‘‘nuances of our personal identities’’ (Braud & Anderson, 1998,

p. 23). In the act of sharing these nuances, a story is told, a past is remembered,

and insights are formed as a way to cast a light on a lived experience. By sharing

narratives the participants became more aware of their pivotal or transcendent

experience. Thus, as Braud & Anderson stated, ‘‘a more fully enriched spiritual

awareness seems not only possible but more probable’’ (p. 24).

Another pertinent aspect of the transpersonal paradigm is the importance of

interconnectedness—the acknowledgment of shared multiple realities that were

accomplished through dialogue and an exchange of information between the

researcher and participants. Thus, the relationship becomes interactive, a

quality of relationship that will further emphasize the equal terrain on which

both participant and researcher stand (Braud & Anderson, 1998).

With the transpersonal paradigm, this researcher studied the various transcen-

dent experiences that inspired individuals to write memoir to transform and

become empowered at the center of this process. As a researcher, I concur with

Braud and Anderson (1998), who believe that, although a large part of our

knowledge is received through sense data validated by others, other forms of

knowing also offer an opportunity to gain knowledge.

The constructivist worldview complements the transpersonal paradigm

because, for data collection, it uses methods such as observations, interviews,

and document reviews, which included the reading of the participants’

published memoirs. The goal of this worldview is for individuals to understand

the world in which we live. The assumption he re is that the researcher and

participant would recall, collect, examine, and interpret data, and would then

socially construct conclusions explicit in the narratives: ‘‘The constructivist

therefore opts for a more personal, interactive mode of data collection’’

(Mertens, 2005, p. 15).

After collection via interviews, reading the memoirs, and lectures, the data

were connected to a broad spectrum of theoretical frameworks. This was one

way to interpret and analyze the data. Each story was analyzed individually for

particular elements; then similarities, differences, and common themes were

identified (Murray, 2011).

Participants

The five participants were chosen via purposeful sampling, thus providing a

rich blend of information, ‘‘with the objective of yielding insight and

understanding of the phenomenon under investigation’’ (Bloomberg & Volpe,

2012, p. 104). The participants had all written a memoir that referenced them

having had a pivotal or transcendent experience that moved them to write

either one or two memoirs. The experience of writing the memoir should have

been transformative and empowering to the participant. In order to initiate this

purposeful selection, I read a selection of memoirs from both emerging and

esteemed (well-published author with at least one published book) writers.

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At the onset of this study, as a researcher, I identified potential participants by

gathering names from published memoir reviews, such as in Publisher’s

Weekly, Poe ts and Writers, Salon, and The Sunday New York Times Book

Review. E-mails were also sent to literary colleagues for suggestions of writers

who had written a memoir that dealt with the subject of loss—whether

referencing the loss of a loved one, health, or status. The intention was not to

study loss, but loss was used as a participant criterion as a way to narrow down

the number of potential memoirs to be studied; otherwise the list of possible

memoirs would have been too extensive.

The potential participant list began with nearly 34 memoirists. Utilizing the

process of elimination, the list was narrowed down to 25 participants and finally

to five participants. Then, I read each memoir (some participants had written

two memoirs) to ensure their pertinence to the study. When the preferred

memoirs were chosen, e-mails were sent advising the memoirist of the nature and

essence of the research study, and what it would involve for him or her. For

example, the participants were advised that they would be interviewed three

times via phone or Skype over a 3-month period, at mutually agreeable times.

The final participant profile included (a) age range between 35 and 75; (b) three

females and two males; (c) two out of the five participants had written two

memoirs; (d) all participants were estee med writers; (e) all participants had

transcendent or pivotal experiences that led them to write a memoir; and (f) at

least four participants acknowledged that they were transformed and

empowered by writing a memoir.

The first participant to consent to the study was Kim Stafford, the son of the

esteemed poet William Stafford, who had also written a memoir about his

brother’s suicide. The second participant to agree was Mark Matousek, who

had written two memoirs. The third participant was Monica Wesolowska, who

almost immediately agreed to parti cipate in the study. The fourth participant

to respond was Alexan dra Styron, the daughter of the writer William Styron.

The fifth agreeing to participate was Maxine Hong Kingston. Note: All

participants chosen for this study opted out of remaining anonymous and gave

permission for their names to be published.

Thus, all the memoirs chosen for this study were written by well-published or

esteemed writers. Purely by coincidence, all five participants were also teachers

of either creative or transformative writing. Admittedly, these memoirists were

chosen because their memoirs were the most compelling and well-written

contemporary memoirs.

Procedure

Personalized letters were e-mailed to each participant describing the research

project as a narrative qualitative study examining the pivotal or transcendent

experiences that led each individual to undertake the project of writi ng a

memoir. In the initial letter to each participant, the transpersonal term of

Creative Transcendence 191

transcendent experiences was explained, and it was mentioned again on the

Informed Consent form. This study employed integral research skills with

intention setting, while using mindfulness techniques for both the researcher

and participant. The participants were offered the oppor tunity to share any

other alternate states of knowing, such as lectures, journal entries, or any other

forms of creative expression.

Two interviews were conducted with each participant. Althou gh a great deal of

information and answers to the research questions were easily obtained by

reading the participants’ memoirs, the interviews validated and allowed for a

deeper connection between the researcher and the participants.

Prior to the first interview with each participant, this researcher read each

memoir twice. Research questions were customized to each memoirist,

although left open-ended so that the discussion could be guided by each

participant. To ground and calm the participant, each interview began with a

breathing exercise, followed by a 5-minute guided meditation.

The first inter view began with an orientation, stating intention and rationale

for the study, and sharing the length and focus of the discussion (Mishler,

1999). Each participant was informed of my deep interest in his or her memoir,

while also sharing my own transcendent experiences and the transformative

dynamics of my memoir writing. The second interview was a continuation of

the first, and ended by asking if the participant ha d anything to add, comment

on, or share.

The details and contents of the interviews were based on a combination of

two interviewing approaches: McAda ms’ (1997) Life Story Interview, which is

a guided autobiography method wher ein the individ ual constructs the life

story, identify ing pivotal expe riences in his or her life; and the Self-Defining

Memory Task developed by Singer and Moffitt (1991), wherein self-defining

emotional memories are linked together by a theme in the individual’s life

(Winston, 2011). These elicited emotional memories are ‘‘affectively charged,

repetitive , and linked to other similar memories. They are also connected to

an important theme of enduring con cern in a person’s life story’’ (Winston,

2011, p. 120).

This new interview method, which I called Transcendent Experiences and Life

Themes, included making the following inquiries: the presence of peak

experiences, nadir (low) experiences, pivotal experiences, exceptional human

experiences, aha moments, and the role that writing continues to play in the

participant’s life. The participant was then asked about the impact of these

events on his or her personal transform ation and sense of empowerment.

Prior to the first interview, each participant received via e-mail an Informed

Consent to participate in the study. For the purpose of data treatment, the

participants had the option to remain anonymous, but none of them chose do

so. The interviews were semi-structured.

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Ethical considerations involved the minimization of the risks and the

enhancement of the benefits to all the participants. Because the criteria for

participant selection entailed having written a publis hed memoir, the ethical

considerations regarding confidentialit y were minimal.

To minimize the issue of researcher bias, I shared and reflected about my

connection with the subject of research and my own experience with pivota l

and transcendent experiences that led to the writing of my two memoirs,

Regina’s Closet: Finding Her Grandmother’s Secret Journal and Healing With

Words: A Writer’s Cancer Journey. Bloomberg and Volpe (2012) suggested that

the researcher keep a journal of subjective perspectives and biases to be

recorded during the research process; I did regular journaling during, before,

and after the actual data collection. While writing up the data, I contacted a

couple of the participants for clarification on specific information.

To ensure accuracy and efficiency of data collection, the triangulation method

was used, wherein multiple analytical processes are used to create a greater

understanding of the meaning of research. The primary methods of data

collection were through interviews, reading of and reviewing the participants’

memoirs, and researcher’s observation (Bloomberg & Volpe, 2012). Interviews

were conducted via live meetings, taped phone interviews, and Skype.

Numerous validity measures were also utilized. First, to address credibility

(internal validity), peer debriefing was used. For that process, the findings were

presented to other memoir writers who were not involved in this study. The

nature and findings of the study were also discussed with a colleague not

writing a memoir, but who works in an academic environment and teaches

writing at the college level. Those consulted were impressed by the study’s

results and asked helpful questions that illuminated some of the study’s major

reliability issues. Second, transferability (external validity) was used, wherein

rich and poignant descriptions of the research findings were shared. The more

details presented in the study, the more trustworthy and reliable the narrative

appeared.

The reflexive voice, as described by Hertz (1997), allows for this deep

conversation with the self by incorporating the individual’s body, mind, and

spirit in the writing process. In fact, sometimes during the writing process, the

individual utilizes a transpersonal technique whereby the body takes over and

the writer becomes entranced an d involved in reliving the experience. This

involvement may result in transformation for the memoirist (Anderson, 2001;

Ellis, 2004; Goodall, 2000; Haynes, 2011).

For compelling readability, embodied, reflective, and reflexive writing was

employed. Third, a test of dependability (reliability) was utilized. This is the

place where the methods overlap, addressing credibility and employing

triangulation, stepwise replication, and inquiry audit. My self-reflections were

shared regarding the narrative with the hope that my insights would resonate

and move the readers. Fourth, confirmability (objectivity) was also addressed

and, when possible, extended time was spent with each participant, either in

Creative Transcendence 193

person, via Skype, or on the phone. During the data collection stage, I

maintained a reflexive journal. Fifth, member checking was utilized. After the

interviews were transcribed and the data analyzed, additional communication

was arranged with each participant, as a way to allow him or her to review the

document for accuracy.

ESULTS

Based on the four research que stions, the followi ng findings resulted:

Transcendent or Pivotal Experiences that Inspired Memoir Writing for

Transformation and Empowerment in all the Participants.

For Staff ord, the pivotal moment for writing his memoir was his older brother

Bret’s suicide at the age of 40. He had never written about his brother, but

realized that over the years much of the dialogue and narrative he had written

in his journals were connected to or in the voice of his brother. Therefore, his

brother’s suicide was his inspiration to write his memoi r, 100 Tricks Every Boy

Can Do. As he emphasized ‘‘painful acts like suicide, and mysterious life

dimensions like depression, tend to call forth both indelible memories and a

velvet cloak of silence’’ (Stafford, 2012, p. 194). The moment of the final

decision to begin writing his memoir occurred when Staffo rd’s son transitioned

into adolescence, and Staff ord began to wonder ab out the circumstances

surrounding his brother’s suicide. Stafford wanted to be aware of the secrets,

silences, and the predisposition for depression in his family, as all those factors

could have an impact on his only son.

Memoirist Matousek (1996) claimed that his inspiration for writing his first

memoir, Sex Death Enlightenment, stemmed from his transcendent experience

of the realizat ion that his life as a busy writer for a large New York magazine

was taking a psychological toll on him. He felt a deep desire and need to slow

down his life from the fast track. It was as if a voice inside him gave him this

message. What this meant for Matousek was the need for a mystical and

spiritual exploration. It was during his personal mystical and spiritual

exploration that he found himself transforming. By writing Sex Death

Enlightenment, he wanted to share with the universe the de tails and evolution

of his transformation.

Matousek’s (2000) impetus for writing his second memoir, The Boy He Left

Behind, originated from the pivotal or transcendent moment of when his father

abandoned Matousek’s family when he was 4 years old, leaving him to live

with three sisters and his mother—essentially a hous e of women who silenced

him. The real impact of that moment arrived when his father returned years

later and unsuccessfully tried to kidnap him.

Wesolowska’s (2013) transcendent moment arrived when she gave birth to

Silvan, who clearly would not survive too long after birth. Just after his birth,

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Wesolowska began keeping a journal sharing her experience. Already a writer,

it was clear this loss would lead her to write the story of Silvan’s life, and that

this would both help heal her and empo wer her realizat ion that if you love

someone you need to let them go—thus her inspiration to write Holding Silvan.

Styron (2011) was a little different than the other memoirists because although

she had written a novel, her primary profession was as an actor. As the only

one in her family who had inherited the literary gene, she felt compelled to

share her father’s story. In addition to being inspired to study, write, and share

her father’s life story and what growing up in the same house with him was like,

she was also driven by grander motivations of exploring the human heart and

psyche; thus the title, Reading My Father.

Kingston’s (1975) transcendent experiences or inspiration for writing her two

memoirs were not necessarily from one clearly identifiable moment, but stemmed

from her reflection about what had historically happened within her family. The

Woman Warrior was inspired by the ghosts of her Chinese past, particularly her

aunt’s suicide after being ostracized from the community for having an

illegitimate child. The fact that her aunt was born and forgotten from the family

grated on Kingston’s psyche for many years. While her mother wanted her to

communicate stories with the world, Kingston was told to hold on to the secret

about her aunt’s suicide. Kingston wrote The Woman Warrior as a way to explore

this duality. Kingston’s impetus for writing The Fifth Book of Peace was the

Berkeley fires, causing the burning of her 200-page book manuscript. Kingston

believes that through stories we find reconciliation with our past.

The Transformative Dynamics of Writing a Memoir

Stafford indicated that writing his memoir transformed him in the sense that it

helped him come to new understandings about his brother’s suicide. It also

reunited him with his brother in a way that made him feel younger because he

was reliving their childhood experiences together. At the same time, the writin g

inspired him to dig deeper into understanding his own life. The writing forced

him to pose questions and encouraged him to tell stories. Most importantly,

Stafford reali zed that relationships do not end with death; they go on forever,

and sometimes they can even become magnified after someone has died.

Matousek was immediately transformed and relieved from the pain of his past

when he began writing. Growing up as the onl y boy amongst three sisters,

Matousek never felt as if his voice was heard. Writing his memoirs gave him a

voice. While writing The Boy He Left Behind, Matousek came to the realization

that as a child without a father living at home he felt as if a part of him was

missing, but in writing his memoir he understood that that there was no reason

to feel that way. Thus, writing dissipated his feelings and helped him feel more

real in his own skin than he had ever felt before.

Wesolowska wrote Holding Silvan with a deep sense of flow and urgency, and

this alone was transformative. Wri ting about her experience with Silvan’s

Creative Transcendence 195

short life and untimely death helped her look at lif e in a much larger context,

especially since she wrote it after her she had birthed two other sons. Writing

also helped to keep Silvan alive in her mind and in her heart. Compl eting the

memoir brought closure to his life and birth. The writing transformed her

and helped her move into the ne xt phase of her life of rais ing two healthy

boys.

Styron felt transformed while writing her memoir because the writing process

gave her confidence in her story, which she was telling about her father. She

also found that while writing, undesirable memories of her past that had been

swept away were brought to the forefront. Styron realized that rather than

being a form of transformation, retelling her father’s stories was a way to

manage her false sense of intimacy with him, in that she held onto satisfying

snippets of information as a mirror into his life.

Kingston admitted to having been transformed by retelling the stories of her

past. She also enjoyed examining and exploring unknown territories. She felt as

if she had had a lost childhood and by writing about it, she was able to

understand her past and move forward. During the writing process Kingston

had many animal visions that shed light on her life. In addition, she realized

that the lost manuscript of The Fifth Book of Peace had also burnt many years

ago in China, and she pondered the coincidence of these two events.

The Impact of the Pivotal Transcendent Experience on an Individual’s Life

Theme

Stafford’s life theme has always been Kuleana, or the freedom to tell stories

and the importance of communication . When he realized that he could tell the

story of his brother ’s life a nd suicide, he experienced a certain amount of

freedom. Writing 100 Tricks Every Boy Can Do encouraged him to pose even

more questions about his brothe r’s life and ultimate suicide. He began

questioning the effect his parents had on his brother’s demise. He also

wondered how he might be a better father than his father may have been t o

his brother and honor the importance of transparency and open communi-

cation.

Like Stafford, Matousek’s life theme has greatly revolved around posing

questions and seeking answers. Matou sek also acknowledged that the themes

in both his memoirs focused on his deep sense of spiritual hunger. Along with

this came a sense of wonderment about how to deal with this hunger in the

most productive and effective manner. He came to the realization that

survivors are seekers.

Wesolowska had always been a journal keeper, so pulling together the story of

Silvan’s life was in line with her life theme as a creative writer. Wesolowska,

Stafford, and Matousek are believers in transparency, and this clearly was

illustrated in all of their writing. Wesolowska also acknowledged the beauty

inherent to all of life’s stage s—birth, dying, and death.

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Writing Reading My Father reminded Styron of her genetic predisposition to

depression and madness. She also understood her deep psychic connection with

her father and their mutual sense of humor that she tried to incorporate into

the narrative of her book. Another theme in Styron’s life has been the presence

of some sort of intrinsic or extrinsic drama inherent in her family’s everyday

existence.

The Role of Maslow’s Theory of Metamotivation in Connection with B-Creativity

and D-Creativity

Sometimes there is a blurring of the boundaries between both B- and D-

creativity, especially when discussing writers born of famous writer s, such as

Stafford and Styron. They may very well have been born with the creat ive gene

and the propensity to express themselves on the page, but perhaps they did not

feel it possible until the time was right, such as when faced with a transcendent

or pivotal moment. In Stafford’s case, it was the death of his brother and for

Styron, the death of her fathe r, both powerful turning points in their lives.

Even though the decision to write their memoirs did not necessarily occur

immediately following the experience, the idea might have been stirring in their

minds.

Although both Stafford and Styron were already writers when their

transcendent experiences occurred, it might be assumed that their creativity

was in the B-creativity realm, but transcended to the D-creativity realm. In

other words, they both used their skills as writers to help themselves deal with

and find peace with their losses; thus, the idea of writing a memoir was

connected to what Maslow defined as D-creativity.

Matousek is very inspired by higher forces and aspirations. In sharing his own

personal journey and transformation with the universe, he felt as if he was

working for the higher good. In this way, he is metamotivated; his work may

have originated from D-creativity and the belief that he needed to share his

story because of the loss of his father. During the writing process, this D-

creativity led to B-creativity because the more he wrote, the more he realized

how dependent his existence was on sharing his story with the universe.

As a writing instructor, Wesolowska has been a huge inspiration for emerging

and accomplished writers. She believes in transformation and healing through

words. Although she did begin writing in her journal during childhood, it is

unclear whether she began writing out of D-creativity or a desire to write and

share her words. Like many writers, she may be one who oscillates back and

forth between these realms.

Kingston was metamotivated in the sense that she wanted to share the stories

of her Chinese culture. She began writing from a D-creativity perspective and

ended up writing from a B-creativity perspective, in that once she started

writing and sharing her messages, she realized that the written word was an

integral part of who she was and that she was writing for a higher purpose: to

share her story with the universe.

Creative Transcendence 197

Clearly, these findings bring forth similarities amongst the five participants and

their stories. For example, the theme of secrecy runs through all their stories,

which felt uncomfortable to them. All five participants preferred following the

path of transparency as a way to transformation and empowerment. There

seems to be a predicament between secrecy and reconciliation in these

emotionally charged families where conflicting messages were relayed,

especially to the offs pring. Perhaps these writers chose to write memoir as a

form of reconciliation of the tenuous conditions of their childhoods and/or

their individual lived experiences.

ISCUSSION

This qualitative narrative study gathered data from five published writers—

three women and two men, all ranging between the ages of 45 and 75, who had

written a full-length memoir inspired by a pivotal or transcendent experience.

The chosen memoirs were connected in some way to loss, although the focus of

the memoir was not specifically about loss. Merely by coincidence, all five

participants were creative writing instructors.

When the participants were asked to look back on the transcendent experience that

served as inspiration for writing the memoir, all were able to identify the experiences

that ultimately became the memoir’s focus. Stafford was inspired by his brother’s

suicide and wanting to be aware of the secrets and silences within his family;

Matousek was inspired by his father abandoning him when he was 4 years old;

Wesolowska was inspired by the loss of her son; Styron was inspired by wanting to

examine the large picture of her relationship with her father; and Kingston was

inspired by her aunt’s hidden suicide and the ghosts of her Chinese past.

When the participants were asked about the transformative dynamics of

writing a memoir, Stafford had three offerings. He admitted that writing

helped him come to a new understanding about his bro ther’s suicide; it also

inspired him to dig deeper into his own life, while coming to the realization that

relationships do not end with death. Matousek found that writing gave him the

voice he never had as a child; he also realized that even though his father

abandoned him, a piece of him was not missing, as he had thought for so many

years. Wesolowska found that writing helped her see her son, Silvan, in the

larger context of her life, and that writing also brought her a sense of closure to

Silvan’s life so that she could move into the next phase of her own life. Styron

found that writing her memoir gave her confidence in the story she set out to

write, and that when writing, her memories became even clearer. Kingston

admitted to having been transformed by retelling the stories of her past, and

also by examining unknown territories. She also felt that by retelling the stories

she was able to recla im her lost childhood.

When the participants were asked about the role of the transcendent experience

and their life theme, Stafford admitted that his passion for writing was

connected to his love of Kulean a, or the freedom to tell stories. He also

acknowledged that the secret surrounding his brother’s suicide simply ne eded

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to be told. Matousek admitted that his life theme had alwa ys revolved around

posing questions, in addition to his eternal spiritual hunger . Writing both his

memoirs served as a continuation of these themes. We solowska had always

believed in honesty and transparency, and tel ling Silvan’s story allowed he r to

maintain this desire. Also, as an individual who likes making connections,

writing allowed Wesolowska to make connections to the losses of her past.

Kingston and Wesolowska are both women who enjoy storytell ing, so

memoir writing was an integral and important element of their life themes.

Wesolowska admitted that once she made the deci sion to begin the memoir,

she experienced a sense of flow with her words, as if they originated from a

very deep place.

All five participants were similar in their desire for transparency and revealing

secrets. They all conceded that secrets made them feel uncomfortable and ill

at ease. For each one, the resolution came forth when the secrets were exposed,

which ultimately led to transformation and empowerment. There was clearly a

relationship between secrecy and reconciliation in all 5 participants, and

writing the memoir was a way to find resolution in regard to the transcendent

experience.

In addition to these findings, five common themes emerged from the data:

1. The five participants expressed a deep need to write a memoir, feeling as if

they were the only one able to share this story that needed to be told. It was as

if each one was called to write the story. In other words, writing and sharing

the story was something they had to get out of their systems.

2. All the participants identified themselves as curious and inquisitive

individuals who yearned for knowing and understanding the lived

transcendent experience.

3. All participants had implicitly or explicitly confessed that one of the reasons

they made the decision to write a memoir was the desire to figure something

out, whether it was an unanswered que stion or the truth about a situation.

4. By writing the memoir(s), all five participants suggested that they could

finally let go of the story. During or after writing the memoir, all the

participants alluded to the fact that writing was a way to come to terms with

or resolution about the pivotal or transcendent experience. In doing so, they

each attained spiritual and/or personal strength through transformation and

a sense of empowerment.

5. All participants concluded that in researching and writing the memoir, they

were offered the opportunity to make connections with others who shared

valuable information. This sense of interconnectedness brought a deep sense

of comfort and a sense of fulfillment. All the participants viewed making vital

connections as one of the many positive aspects of memoir writing.

ESULTS IN RELATION TO THE LITERATURE REVIEW

Stories unite us; therefore, the purpose of narrative is to express and share stories.

‘‘Autobiographic narrative teaches you how to express what you’ve experienced,

Creative Transcendence 199

what you feel, what you remember, what you understand, who you are, what you

believe and why, in a way that someone else would relish reading’’ (Rainer, 1997,

p. 8). The narratives developed by this study clearly illustrate that narrative writing,

especially as seen in the writing of a full-length memoir, can help individuals move

forward and become transformed and empowered during and after the writing

process. Mishara (1995) claimed that narrating difficult experiences through the

written word is an act of self-transcendence, and one way for an individual to

embody an experience and help to organize it in the context of his or her life.

Numerous books and papers have been written on the healing power of writing in

general, particularly journaling, but not much has been written on the

transformative role of writing a full-length memoir. This study offers to place

the transformational power of memoir writing within the existing literature.

The best memoirs have been written by those who have allowed enough distance

between the transcendent experience and the writing of their memoirs. This

distance provides a much appreciated additional perspective. According to

Freeman (1993), when an individual rewrites an experience, especially in the form

of a memoir, it offers the opportunity to give a new meaning to a lived experience

by understanding it with the present-day lens. As May (1975) identified, the

insights offered by looking backward on a life ‘‘emerge not chiefly because they are

‘rationally true’ or even helpful, but because they have a certain form, the form

that is beautiful because it completes an incomplete Gestalt’’ (p. 68).

Many writers believe that memoir cannot be properly written until middle age,

when there is not only enough distance from the story to be written, but also the

wisdom of the adult perspective and prophecy. In her book, Your Life as Story,

Rainer (1997) admitted that she did not even feel the impulse to write a memoir

until she was 40. The distance, Freeman (2007) claimed, most often allows the

experience to come across more coherently on the page. Freeman (2010) added

this about hindsight: ‘‘Even when I least expect it, a new experience or piece of

information may come along that will utterly and completely transform my

understanding of the past and the story I tell about it’’ (p. 85).

The fact that all the participants were inquisitive and had a passion for posing

questions might suggest a personality trait inherent to writers. In discussing the

creative genius, Hale (1995) stated that the writer is able to combine the

intellectual sophistication of years of learning coupled with the wonder and

curiosity of a child who is unafraid to pose questions. Posing questions is

inherent to wanting to understand these lived experiences. In the discussion of

the memoirists wanting to figure something out in their lives, Frank (1995)

wisely stated that ‘‘the postmodern memoirist writes to discover what other

selves were ope rating, unseen, in a story that is the writer’s own, but that writer

is several selves’’ (p. 70). This figuring out and understanding informs the

transformative and empowering aspects of writing a memoir.

The deep questioning of the self in trying to understand the transcendent

experience leads to deep conversa tion with the self, which was reflected in the

participants’ writing.

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Another fa ctor to consider is the connec tion between the desire to be creative

and the desire to share that cre ativity, whether it is memoir writing, poetry,

or art. This desire to share is connected to Maslow’s metamotivation and an

individual’s desire to do something for humanity or the collective. In other

words, the transformational pull may be as much social as individual. Wh en

metamotivated by higher means, the writer’s motive is to do something for

the good of the collective, and sharing the stories of pivotal or transc endent

expe riences does just tha t. By witnessing and sharing stories, both the writer

and the reader attain benefits. As DasGupta and Hurst (2007) suggested,

without sharing the stories, the participant’s life experiences wou ld have

remained private. In the event of suffering or i llness , the individual might

have suffered alone. Therefore, the act of sharing can be transformative and

empowering. In fact, Maslow (1970) suggested that those who are self-

actualized are those who experience situations in the best way, are the most

compassionate, and play a large role in informing and reforming others. In

this sense, the self-actualization characteris tic of memoir writers can be

understood as metamotivation to affect the col lecti ve; memoir does this by

informing, transforming, and empowering both the memoirist and the

reader.

The participants in this study appeared metamotivated, indicating that they

were already self-actualized, or the type of individuals who made the most of

their potential and intellect. This motivation by higher means was indicative of

a desire to solve unknown problems or find answers to unanswered questions.

Maslow’s (1962/2011) description of self-actualizers adds depth to this

understanding; he described such individuals as ‘‘relatively unfrightened by

the unknown, the mysterious, the puzzling, and often are positively attracted

by it, i.e., selectively put it out to puzzle over, to meditate on and to be

absorbed with’’ (p. 108). This lack of fear transcends the relationship with

themselves and their relationships with others. Having no fear meant that the

participants were unafraid of their own behavior, emo tions, or thoughts, and

more than most, they were self-accepting of themselves and others.

The sense of spiritual growth or transformation leads to the transpersonal

relevance of the research, in the sense that this deep need to write memoir is

framed as self-actualization within Maslow’s understanding of human

potential. The concept of self-actualization supports the achievement of

human potential as a way to well-being and a sense of harmony. Clearly, both

self-actualization and creativity, as demonstrated through the wri ting of

memoir, are connected to psychological well-being and interdependent upon

each other. Sometimes, in fact, it might be difficult to ascertain which preceded

the other—is the creative individual self-actualized or is the self-actualized

individual creative? Runco, Ebersole, and Mraz (1997) suggested that, in fact,

both self-actualization and creativity may lead to even a third variable, such as

the ability to cope and adapt, and that both creativity and self-actualization are

multifaceted and dependent upon other variables. However, in either case,

both creativity and self-actualization affect the ability of an individual to

achieve his or her human potential, which thus explains the trans personal

relevance of this study.

Creative Transcendence 201

TRANSPERSONAL RELEVANCE

Lajoie and Shapiro (1992) defined transpersonal psychology as ‘‘the study of

humanity’s highest potential, and with the recognition, understanding, and

realization of unitive, spiritual, and transcendent states of consciousness’’

(p. 91). Creative expression may be considered a transcendent state, and in

general, fosters a healthy balance between the mind, body, and spirit. This

study is transpersonal from its utility for an individual in achieving the highest

potential or becoming metamotivated through the writing process.

Writing as a transpersonal practice has been well established; other researchers,

such as Dufrechou (2002) and Netzer (2008), used the practice with themselves

and the participants in their studies, incorporating embodied writin g in their

descriptions. In my particular study, the embodied writing and descriptions

came directly from the published memoirs being studied. Memoir writing as

a creative expression is useful as a transpersonal practice because it increases

self-awareness, promotes healing, is transformative, and elicits feelings of

empowerment. Memoir writing can incorporate transpersonal methods such as

reflective, reflexive, and embodied writing. By incorporating the technique of

embodied writi ng, the transcendent experience gets embodied and nourished by

its presence in and of the world in which we live.

Anderson and Braud (2011), in their discussion of embodied writing,

highlighted the idea that our experiences are relayed from the inside to the

outside; by using words and vivid images as a vehicle, the memoirist invites

sympathetic resonance in the readers. In this way, the readers feel the pulse of

the story being told, as if they are reliving details of the experience, emotions,

and feelings with the writer. In other words, the reader is invited to be present

with the memoirist in the experience. Each writer does this in his or her own

creative way, which is why each writer has his or her own distinctive voice

when describing a lived experience.

The most compelling writers slow down and look for resonance within their

own bodies, as they try to relive an experience and all its nuances. This

technique is particularly relevant in memoir writing when the memoirist is

often called upon to recall an event that might have happened many years

earlier. Consequently, the use of embodied writing is a vita l way to ‘‘bring the

story home’’ to both the reader and the writer and becomes one way for the

memoirist to portray his or her lived experience in and to the world.

The participants in this study reported that they were all were pleased about

their decision to write a memoir, and found that they greatly benefited from the

experience. Writing about the trans cendent experience offered another way of

knowing and understanding their lived experience and provided another path

leading them to transformation and empowerment.

In addition to achieving personal transformation and empowerment, memoir

writing and sharing stories is also an endeavor for the collective and a way to

assist in cultural education to initiate change. The writing and reading of

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memoirs encourages self-reflection and acceptance of the self and others.

Sharing stories through the process of memoir writing helps foster a sense of

interconnectedness, and breaks down barriers that might ha ve divided cultures

in the past. Human stories bring us together, which fosters and encourages

compassion and understanding of one another as individuals and as a culture.

ESEARCHER REFLECTIONS

Much of the joy in doin g the work for this study originated from my own

personal interest in memoir writing. My passion for the subject emanated

during my interviews, as an immediate connection was established with the

participants. The sense of interconnectedness was apparent during all my

interactions with the participants; I believe this was comforting for the

participants and eased the potential strains on a researcher–participant

relationship.

I realized that research can be transformative for both the researcher and the

participant. Anderson and Braud (2011) mentioned that implicit in the

transformative vision is the idea that research can be transformative on many

levels, including individual, communal, and global. On an individual level, the

participants were encouraged to reflect on their writing process and identify

transformative elements that occurred during the writing process and our

discussions. As a researcher, I was transformed by the cooperation and

enthusiasm of the chosen participants, and also by some of the salient data that

emerged from this study. On a communal level, interesting material emerged

during the discussion between the participants and researcher regarding the

process of memoir writing, which in turn encouraged the participants to think

about how to communicate and teach the transformative properties of writing

with their students. From a global standpoint, changes and transformation

occur as a result of the ripple effect—first individual, then communal, and then

global.

The use of qualitative method of narrative inquiry was a good fit for the

subject being examined. This method allowed the most transparency of

storytelling, but at the same time provided an open forum for the participants

to share their stories. I realized this method of inquiry was consistent with my

own passion for storytelling and memoir writing as a way to impact readers, by

offering the possibility of transforming readers rather than attempting to prove

anything in particular.

In reflecting on the process of memoir writing throughout this study, another

factor repeatedly struck me: how long it took each memoirist to complete the

memoir and the sense of flow during the process. The more I understood the

process described by my participants, the more my focus shifted toward the

positive pull they were experiencing as memoir increased their sense of

wholeness, rather than repairing a wound. I believe the words transformation

and empowerment are more positive, and lend themselves to deeper discussion

of self-actualization and metamotivation.

Creative Transcendence 203

Transformation and empowerment seemed to occur as a result of a lapse of

time between the transcendent experience and the memoir writing. This time

lapse seemed to allow enough time for reflection and contemplation. This

distance from the transcendent experi ence and the self-understanding and

reflection that came from writing the memoir is what led to transformation and

a sense of empowerment. The participants were offered the time to reflect and

identify the significance of the transcendent experience in their life, and how it

affected their life theme. It was evident from the results of my study that

individuals may be unaware of the impact of a transcen dent experience at the

time of its occurrence; only distance from it can help the person identify its

impact. For example, the ramifications of finding my grandmother dead in her

bed did not become apparent until 40 years after the event. Although the

suicide was not connected to my cancer diagnosis, when diagnosed with cancer

I wondered if that was why my grandmother committed suicide so I began

studying her life; however, it was not apparent that she committed suicide

because of a cancer diagnosis. Nevertheless, the investigation led to my

reflection and analysis of the effect of her suicide on my life. As a practical

matter, this suggests that those of us feeling called to write memoirs may allow

ourselves time to let the stories emerge as part of our lived process.

VERALL FINDINGS

The primary goal of this study was to identify the healing, transformative, and

empowering dynamics of an esteemed writer writing a full-length memoir

inspired by a pivotal or transcendent experience. The study and interviews were

sparked by the main research question: What are the transformative dynamics

of writing a memoir elicited by a pivotal or transcendent experience? The

subquestions were (a) What are the pivotal or transcendent experiences that

inspire memoir writing for transformation and empowerment in esteemed

writers? (b) What is the impact of the pivotal or transcendent experiences in

terms of an individual’s life theme? (c) How are those experiences

representative of Maslow’s theory of metamotivation, B- (being) creativity

and D- (deficiency) creativity? The theoretical framework used was narrative

research that served to create a sense of meaning and significance to the

transcendent experi ences. The philosophical assumptions used in this study

were transpersonal and constructionist, a large universal theme that included

observations, interviews, and socially constructed conclusions. The other

important element of information was the idea that restorying or retelling

stories can be transformative and empowering.

The data revealed that creative expression, such as memoir writing, when used

as a transpersonal practice, encourages self-reflection, increased awareness,

insight, discernment, compassion, and mindfulness when using writing

techniques such as embodied writing and reflexivity. For the participants,

these practices all led to a deeper understanding of the meaning of the

transcendent experience and the role it played in their lives. Also, the restorying

of a lived experience helped cast light on issues that might not have been

illuminated had the participants not decided to write a memoir.

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The findings suggest that the participants were both transformed and

empowered by the experience and process of writing a full-length memoir. In

some cases, the writers began writing with one mission or reason in mind.

During the writing process, however, they found that the memoir took a

different path, leading the focus or reason for writing in a different direction.

As a result, the memoirists connected with deeper reflections or illuminations

about the experience and its role in the larger context of their lives, individually

and in the universal perspective. This change in direction during the writing

process also illustrates the role of creative flow in memoir writing.

Csikszentmihalyi (1990) stated that the desire for answers is the drive that

aids in the creative flow. Furthermore, in working with flow, there is a greater

tendency for the writer to choose the path inherent to his or her life theme that

could lead to the development of his or her full human potential and self-

actualization as a way to navigate from D- (deficiency) creativity to B- (being)

creativity. This confluence all leads to psychological well-being and harmony,

which results in transformation and a sense of empowerment.

Writing about their lived experiences was a way for the participants to bring

meaning into their lives, as well as make sense of the pivotal or transcendent

experiences connected to loss. Furthermore, writing a memoir provided the

opportunity for these memoirists to review their lives in the context of the lived

transcendent experience restorying it from their present-day perspective. This

experience and process resulted in feelings of resolution, and the ability to

comfortably move forward into the next phase of life and/or onto other

projects. A sense of inner peace was identified, which in and of itself was

transformative and empowering.

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The Author

Diana Raab, Ph.D., is a transpersonal psychologist, poet, memoirist, workshop

leader, speaker, and award-winning author of eight books, including two

memoirs and four poetry books, in addition to 500 articles and published

poems. Her passion and expertise is writing for healing, transformation, and

empowerment. She has been writing since the age of 10 when she received from

her mother her first her journal to cope with her grandmother and caretaker’s

suicide. She is a regular blogger for Psychology Today, The Huffington Post

(Huff50), and BrainSpeak. Raab serves on a number of boards including The

Center for Autobiograph ical Studies, Poets & Writers, WriteGirl, Antioch

University’s Santa Barbara’s Advisory Board to the MFA in Writing Program,

and she is a trustee for the University of Santa Barbara (UCSB). She lives in

Southern California.

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