Resource Focused Therapy PDF

SYSTEMIC THINKING A N D PRACTICE SERIES
Edited by David Campbell and Ros Draper
Resource Focused Therapy
WENDEL A. RAY
and
BRADFORD KEENEY
Foreword by Betty Alice Erickson
KARNAC BOOKS
RESOURCE-FOCUSED
THERAPY
O t h e r titles i n the
Systemic Thinking and Practice Series

edited by D a v i d C a m p b e l l & R o s D r a p e r
published and distributed by K a r n a c B o o k s
B e n t o v i m , A . Trauma-Organized Systems. Systemic Understanding of

Family Violence: Physical and Sexual Abuse
Bor, G v & M i l l e r , R. Internal Consultation in Health Care Settings
Campbell, D. Systemic Approach with Organizations
C a m p b e l l , D . , D r a p e r , R , & Huffington, C . Second Thoughts on the
Theory and Practice of the Milan Approach to Family Therapy
C a m p b e l l , D . , D r a p e r , R , &c Huffington, C . A Systemic Approach to
Consultation
C a m p b e l l , D . , D r a p e r , R., & Huffington, C . Teaching Systemic
Thinking
Cecchin, G., & Ray, W. A . Cybernetics of Prejudice
C e c c h i n , G . , L a n e , G . , &• R a y , W . A . Irreverence: A Strategy for
Therapists' Survival
Daniel, G., & Burk, C Gender and Family Therapy
D r a p e r , R., G o w e r , M . , & Huffington, C . Teaching Family Therapy
F r u g g e r i , L . et a l . New Systemic Ideas from the Italian Mental Health
Movement
Hoffman, L. Exchanging Voices: A Collaborative Approach to Family
Therapy
Huffington, G , & B r u n n i n g , M . Systemic Consultation with
Organizations: Case Studies
Inger, I., & Inger, J . Creating an Ethical Position in Family Therapy
Inger, L , & Inger, J . Co-Constructing Therapeutic Conversations: A
Consultation of Restraint
Jones, E . Working with Adult Survivors of Child Sexual Abuse
M a s o n , B. Handing Over: Developing Consistency across Shifts in
Residential and Health Settings
P a l m e r , B., & M c C a u g h a n , N . Systemic Ideas for the Harassed Manager
Smith, G. Systemic Approaches to Training in Child Protection
RESOURCE-FOCUSED
THERAPY
Wendel A. Ray
and
Bradford R Keeney
Foreword by
Betty Alice Erickson
Systemic Thinking and Practice Series

Series Editors
David Campbell & Ros Draper
London
KARNACBOOKS
Dedicated to John H. Weakland

. the therapeutic master of doing the most
with the least
This edition first published in 1993 by

H. Karnac (Books) Ltd,
118 Finchley Road,
London NW3 5HT
Copyright © 1993 by Wendel A. Ray and Bradford P. Keeney
The rights of Wendel A. Ray and Bradford P. Keeney to be identified as authors

of this work have been asserted in accordance with §§ 77 and 78 of the Copy
right Design and Patents Act 1988.
All rights reserved. N o part of this publication may be

reproduced, stored in a retrieval system, or transmitted in any form
or by any means, electronic, mechanical, photocopying, recording
or otherwise, without the prior permission of the publisher.
British Library Cataloguing in Publication Data
Ray, Wendel A.
Resource-Focused Therapy — (Systemic
Thinking & Practice Series)
I. Title Π. Keeney, Bradford P.
ΙΠ. Series
616.89
ISBN 978 1 85575 049 4
Printed in Great Britain by BPCC Wheatons Ltd, Exeter

CONTENTS
EDITORS' FOREWORD vii
FOREWORD ix
ACKNO WLEDGEMENTS
Wendel A. Ray xi
Bradford P. Keeney xii
1 Introduction 1
2 Theoretical a n d procedural m a p s (and anti-maps) 11
Bradford P. Keeney, & Wendel A. Ray
3 W o r r y i n g about the c o a c h 21
4 The spell 37
5 The family football game 53
vi CONTENTS
6 A history w i t h voodoo:
follow-up w i t h James a n d M a r y 71
7 T r a i n i n g e x e r c i s e s for d e v e l o p i n g
the t h e r a p i s t ' s c r e a t i v i t y a n d r e s o u r c e f u l n e s s 81
Bradford P. Keeney & Wendel A. Ray
8 After w o r d s 89
REFERENCES AND BIBLIOGRAPHY 93
ABOUT THE AUTHORS 97

EDITORS' FORE WORD
A
s e d i t o r s of this s e r i e s , w e a r e a l w a y s l o o k i n g for new
i d e a s that w i l l h e l p c a r r y the tide of s y s t e m s t h i n k i n g a b i t
further i n t o the future. I n d o i n g s o w e h a v e to b e p r e p a r e d
to p r e s e n t i d e a s that c h a l l e n g e the b a s i c a s s u m p t i o n s of s y s t e m i c
a p p r o a c h e s to f a m i l y t h e r a p y . W e h a d to d e c i d e w h e n w e c o n
s i d e r e d t h i s b o o k , for e x a m p l e , w h e t h e r to a b a n d o n s o m e of o u r
t r a d i t i o n a l d i s t i n c t i o n s b e t w e e n Strategic a n d S y s t e m i c a p p r o a c h e s
to f a m i l y t h e r a p y . W e d e c i d e d t h i s b o o k m u s t not be c o n f i n e d b y
o u r p r e c o n c e p t i o n s . It i s s a y i n g s o m e t h i n g n e w , a n d i n o r d e r for
t h e r a p i s t s to be c h a l l e n g e d b y the m a t e r i a l a n d to d e v e l o p i d e a s of
their o w n , t h e y too w i l l n e e d to r e l i n q u i s h s o m e t r a d i t i o n a l a s s u m p
t i o n s a n d r e a d the b o o k w i t h a f r e s h , o p e n m i n d .
T h i s b o o k i n v i t e s the r e a d e r to see t h e r a p y i n a different w a y . I t i s
l e s s a b o u t the i n t e r a c t i o n b e t w e e n t h e r a p i s t a n d f a m i l y , m o r e a b o u t
the w a y the t h e r a p i s t d e f i n e s p r o b l e m s . I n the a p p r o a c h R a y a n d
K e e n e y describe, family behaviour is uncoupled from a problem
a n d t u r n e d i n t o a r e s o u r c e for m o d e l l i n g n e w b e h a v i o u r . They
w a n t to take the r e a d e r b e y o n d the theoretical p o s i t i o n s of both
the p r o b l e m - f o c u s e d a n d the s o l u t i o n - f o c u s e d t h e r a p i e s to a p l a c e
vii
viii EDITORS' FOREWORD
w h e r e all f a m i l y b e h a v i o u r c a n b e s e e n a s r e s o u r c e f u l . Seeing
r e s o u r c e f u l n e s s i n b e h a v i o u r l e a d s to a n e w d e f i n i t i o n of t h e r a p y .
T h e r a p i s t s h a v e d w e l t recently o n t h e u s e o f s e l f i n f a m i l y
t h e r a p y , a n d this h a s p r o v e d a v e r y h e l p f u l d e v e l o p m e n t , b u t
this b o o k c h a r t s a different c o u r s e . I t locates t h e t h e r a p i s t ' s m i n d
" o u t t h e r e " i n t h e r e a l w o r l d o f t h e f a m i l y — t h e i r n e i g h b o u r s , their
c o m m u n i t y , their h o b b i e s , their d r e a m s . T h e t h e r a p i s t a t t e n d s t o
w h a t e v e r the f a m i l y i s r e a c h i n g for, a n d l o o k s for r e s o u r c e s i n e v e r y
c o n t e x t the f a m i l y i s i n .
R a y a n d K e e n e y h a v e w o r k e d together o v e r a n u m b e r o f y e a r s
to p u t their i d e a s into practice, a n d to teach o t h e r s a b o u t t h e i r
a p p r o a c h . A s e d i t o r s , w e a r e p l e a s e d that t h e y h a v e r e a c h e d a s t a g e
i n their d e v e l o p m e n t w h e r e i d e a s h a v e b e c o m e s o a c c e s s i b l e to
therapists. T h e y h a v e r i c h l y i l l u s t r a t e d their t h i n k i n g w i t h c a r e f u l l y
o b s e r v e d c a s e m a t e r i a l . T h i s b o o k n o t o n l y l a y s b a r e their w o r k for
o t h e r s to l e a r n f r o m , b u t the a u t h o r s g o o n e s t e p further to d e s c r i b e
t r a i n i n g p r o g r a m m e s for t h e r a p i s t s w h o w a n t to l e a r n to u s e t h i s
approach.
David Campbell
Ros Draper
London
M a y 1993
FOREWORD
W endel
merged
Ray and Bradford
a sensible a n d practical approach
Keeney have
c r e a t i v e a t h e o r e t i c a l strategies of m y father, t h e late

M i l t o n H . E r i c k s o n , M . D . W h a t a p l e a s u r e to r e a d state-of-the-art
beautifully
with the
t h e r a p e u t i c a l m e t h o d o l o g y that s o c l e a r l y c a r r i e s forth the e s s e n c e

of E r i c k s o n ' s w o r k .
C l i e n t r e s o u r c e s a r e the m e a n s b y w h i c h m o v e m e n t towards
w i s e a n d p r o d u c t i v e r e a l i z a t i o n s of h e a l t h y g o a l s o c c u r s . T h i s i s a
p r e m i s e that E r i c k s o n both believed a n d said. R a y a n d K e e n e y not
o n l y b e l i e v e t h i s , they s a y , w r i t e , a n d t h e n s h o w j u s t that. T h e y
e x p l a i n it i n their theoretical f r a m e w o r k , they d e m o n s t r a t e it i n
t h e i r c a s e s t u d i e s , a n d t h e y t e a c h it i n t h e i r e x e r c i s e s .
S o often, t h e r a p i s t s t h i n k t h e y h a v e to " d o s o m e t h i n g " for a n d to
the c l i e n t . F i f t y y e a r s ago, E r i c k s o n w a s w r i t i n g a n d t e a c h i n g that
the p o t e n t i a l w i t h i n c a n r e s t o r e h e a l t h a n d w e l l - b e i n g . T o d a y , R a y
a n d K e e n e y t e a c h c l e a r l y a n d p r e c i s e l y j u s t h o w to elicit t h o s e assets
i n a f r a m e w o r k that i s u n i q u e l y their o w n . T h i s c o n c i s e p a r a d i g m i s
s o c l e a r l y b e n e f i c i a l that the r e a d e r w o n d e r s w h y t h i s l o g i c a l a n d
u n d e r s t a n d a b l e a p p r o a c h h a s n e v e r before b e e n a r t i c u l a t e d . R a y
ix
X FOREWORD
a n d K e e n e y t a k e the r e a d e r s t e p - b y - s t e p t h r o u g h t h e i r a p p r o a c h ,
a n d t h e r a p y b e c o m e s a v o y a g e of e n r i c h m e n t for b o t h t h e c l i e n t a n d
the therapist.
R e s o u r c e - f o c u s e d t h e r a p y i s a context. R a y a n d K e e n e y a v o i d
t h e o r e t i c a l c o n s t r u c t s e x c e p t that w h a t e v e r o c c u r s c a n be a p a r t of a
r e s o u r c e f u l context. E r i c k s o n b e l i e v e d s t r o n g l y i n the u n i q u e n e s s of
e a c h p e r s o n . H e r e c o g n i z e d that g r o w t h a n d h e a l t h i s fostered b y
the r e c o g n i t i o n , a c c e p t a n c e , a n d e n c o u r a g e m e n t of i n d i v i d u a l i t y .
B y its v e r y c o n s t r u c t i o n , r e s o u r c e - f o c u s e d t h e r a p y r e s p e c t s i n d i
v i d u a l i t y a n d c u l t i v a t e s respect.
R a y a n d K e e n e y u n d e r s t a n d t h e r a p y a s a context full of r e s o u r c e s
i n s t e a d of b e l i e v i n g it to b e a c t i o n s a i m e d at r e s o l v i n g p r o b l e m s .
E r i c k s o n k n e w this. O v e r a n d o v e r h e e m p h a s i z e d that w h a t e v e r i s
p r e s e n t e d s h o u l d b e u s e d . H e a l s o k n e w that p o t e n t i a l i t i e s m a y n o t
b e f u l l y r e a l i z e d . P a r t of the t h e r a p e u t i c p r o c e s s i s the d e v e l o p m e n t
of a f a v o u r a b l e setting for g r o w t h of those c a p a c i t i e s — e x a c t l y as
R a y a n d Keeney explain.
T h e b o o k e n d s w i t h r e s o u r c e q u o t a t i o n s f r o m a v a r i e t y of p e o p l e .
I w i l l e n d w i t h three f r o m m y father. " I n brief, the b e h a v i o r m a n i
fested b y the subjects s h o u l d b e a c c e p t e d a n d r e g a r d e d a s g r i s t for
the m i l l . " " M y l e a r n i n g o v e r the y e a r s w a s that I t r i e d to d i r e c t the
p a t i e n t too m u c h . I t took a l o n g t i m e [to l e a r n l to let t h i n g s d e v e l o p
a n d m a k e u s e of t h i n g s a s they d e v e l o p . " A n d l a s t , " Y o u let the
subject g r o w . "
Milton H . Erickson Institute of Texas

ACKNOWLEDGEMENTS
R esource-focused t h e r a p y ( R F T ) i s t h e p r o d u c t of a s e v e n
y e a r collaboration between the t w o authors. T h e clinical
work and underlying theoretical orientation has
i n f l u e n c e d b y m a n y p e o p l e , b o t h w i t h i n a n d o u t s i d e of t h e w o r l d
been
of family therapy and brief therapy—individuals of renown

a n d o t h e r s l e s s k n o w n , a l i v e a n d d e c e a s e d . A f e w to w h o m I feel
particularly indebted are D o n Jackson, Harry Stack Sullivan,
G r e g o r y Bateson, a n d Milton E r i c k s o n (through extensive reading
a n d r e v i e w of r e c o r d i n g s , a n d e n l i g h t e n i n g d i s c u s s i o n s w i t h p e o p l e
w h o k n e w a n d w o r k e d with them); John W e a k l a n d , Richard Fisch,
Gianfranco C e c c h i n , W i l l i a m Saxon, L y n n Hoffman, L o r e n Bryant,
G e r r y L a n e , a n d , of c o u r s e , m y c o - a u t h o r B r a d K e e n e y . R F T i s
g r o u n d e d i n t h e w o r k of these i n n o v a t o r s .
D u r i n g the p a s t three y e a r s the r e f i n e m e n t a n d testing o u t of
these ideas i n teaching a n d clinical practice has i n v o l v e d close
collaboration w i t h m y colleague a n d friend R. L a m a r Woodham,
a n d a g r o u p of d e d i c a t e d s t u d e n t s a n d c o l l e a g u e s i n v o l v e d i n t h e
Resource-focused t h e r a p y Project: M i k a l F r a i z e r , D a n W i l l i a m s ,
Becki Biedenharn, Denise Morvant, V a u g h n Bryant, D a v i d Hale,
xi
Xii ACKNOWLEDGEMENTS
T o m M o o r e , D o u g K l i n e , Jackie H a n d , A l i c e C r a w f o r d , K e n Parker,
John Miller, Susan Cooley, Alan Demmit, a n d P a m H a n s e n .
A n d , f i n a l l y , I w a n t to e x p r e s s m y d e e p e s t a p p r e c i a t i o n for m y
dearest Rayleen. H e r u n s w e r v i n g encouragement a n d emotional
s u p p o r t m a d e c o m p l e t i o n o f this w o r k p o s s i b l e .
Wendel A. Ray
R e s o u r c e - f o c u s e d t h e r a p y b e g a n w h e n I first m e t m y c o l l e a g u e a n d
c o - a u t h o r , W e n d e l R a y . T h i s took p l a c e w h i l e h e w a s a s t u d e n t i n a
doctoral program I directed at Texas T e c h University. I n o u r very
first c l i n i c a l c a s e , t h e s e e d s w e r e p l a n t e d for the b i r t h o f R F T .
S i n c e that t i m e W e n d e l h a s b e c o m e a l e a d e r i n t h e field o f f a m i l y
t h e r a p y . H i s h i s t o r i c a l w o r k i n s t u d y i n g the c o n t r i b u t i o n s o f D o n
J a c k s o n i n s p i r e d t h e J a c k s o n f a m i l y to a u t h o r i z e W e n d e l to b e
Jackson's biographer. H i s recently p u b l i s h e d book w i t h G i a n f r a n c o
Cecchin and Gerry L a n e , Irreverence: A Strategy for Therapists'
Survival, h a s a l r e a d y e s t a b l i s h e d h i m a s a c u t t i n g - e d g e v o i c e for t h e
field.
W e n d e l i s t h e o n e r e s p o n s i b l e for b u i l d i n g t h e context that
e n a b l e d t h e e v o l u t i o n o f R F T to t a k e p l a c e . A t h i s i n s t i t u t i o n i n
L o u i s i a n a , w e w o r k e d w i t h clinical cases a n d spent l o n g h o u r s
d i s c u s s i n g w i t h c o l l e a g u e s h o w to w o r k m o r e r e s o u r c e f u l l y w i t h
c l i e n t s . I a m m o s t grateful to W e n d e l R a y ' s l e a d e r s h i p i n e s t a b l i s h
i n g R F T a n d to a l l h i s s t u d e n t s a n d c o l l e a g u e s that I h a v e h a d t h e
pleasure of w o r k i n g with.
I n a d d i t i o n , I w a n t to a c k n o w l e d g e the t h e r a p i s t s w h o h a v e b e e n
d i r e c t l y h e l p f u l to m e i n m y o w n d e v e l o p m e n t a s a p r a c t i t i o n e r .
These include C a r l Whitaker, R a m o n Corrales, O l g a Silverstein,
L u i g i B o s c o l o , G i a n f r a n c o C e c c h i n , Jeffrey R o s s , C h a r l e s F i s h m a n ,
Sal Minuchin, Peggy Papp, Peggy Penn, L y n n Hoffman, Robert
S h a w , H a r o l d G o o l i s h i a n , M o n t e Bobele, H a r v J o a n n i n g , C o n n i e
Steele, William Quinn, Loren Bryant, R o n Chenail, Douglas
Sprenkle, C h e r y l Storm, and Tony Heath.
I a m f o r e v e r grateful to m y s o n , Scott, for h i s d e d i c a t i o n to i m a g i
n a t i o n a n d p l a y a n d to m y w i f e , M e v J e n s o n , w h o i n s p i r e s m e to
m o v e f o r w a r d o n the j o u r n e y .
Bradford P . Keeney
RESOURCE-FOCUSED
THERAPY
CHAPTER ONE
Introduction
R
e s o u r c e - f o c u s e d t h e r a p y ( R F T ) i s a p r a c t i c a l a p p r o a c h to
w o r k i n g w i t h p e o p l e w h o c o m p l a i n o f difficulties, d i l e m
m a s , i m p a s s e s , a n d p r o b l e m s . I t i s b a s e d o n p a y i n g t h e least
a m o u n t o f a t t e n t i o n to p r o b l e m s that h a v e b e c o m e pathologized.
R F T s t r i c t l y f o c u s e s o n b r i n g i n g forth t h e n a t u r a l r e s o u r c e s o f
b o t h c l i e n t s a n d t h e r a p i s t s . B y " r e s o u r c e " i s e x i s t e n t i a l l y m e a n t any
e x p e r i e n c e , belief, u n d e r s t a n d i n g , attitude, e v e n t , c o n d u c t , o r i n t e r
p e r s o n a l h a b i t that c o n t r i b u t e s to t h e p o s i t i v e c o n t e x t u a l i z a t i o n a n d
r e a l i z a t i o n o f o n e ' s b e i n g . I n its i d e a l f o r m , R F T d o e s n o t e v e n
a p p e a r a s t h e r a p y ; it a i m s to a p p e a r m o r e a s the p e r f o r m a n c e o f a
c o n v e r s a t i o n that e n g a g e s b o t h t h e r a p i s t a n d c l i e n t i n t r a n s f o r m i n g
their s i t u a t i o n f r o m o n e that i s i m p o v e r i s h i n g to o n e t h a t i s r e
sourceful.
R F T differs f r o m m o s t t h e r a p i e s i n that it d i s c o u n t s t h e m e t a p h o r
of both " t h e r a p i s t " a n d " c l i e n t " . W e prefer s e e i n g b o t h p a r t i e s a s
c a u g h t i n t h e s a m e d i l e m m a : h o w c a n e a c h b e r e s o u r c e - f u l to t h e
o t h e r ? W h a t m u s t the " c l i e n f ' s a y o r p e r f o r m to e v o k e a response
f r o m t h e " t h e r a p i s t " that w i l l b e r e s o u r c e f u l to t h e " c l i e n t " ? W h a t
m u s t the " t h e r a p i s t " s a y that e v o k e s the " c l i e n t " to e v o k e t h e
"therapist"?
1
2 RESOURCE-FOCUSED THERAPY
M o r e s i m p l y p u t , w h a t m u s t take p l a c e to h a v e c o n v e r s a t i o n that
i s r e s o u r c e f u l to a l l p a r t i c i p a n t s ? U n t i l t h e c l i e n t s a y s s o m e t h i n g
that b r i n g s forth t h e creative i m a g i n a t i o n ( a n d p o s i t i v e c o n t r i b u
t i o n s ) of t h e therapist, t h e therapist i s i n the s i t u a t i o n of b e i n g
treated b y the client. B o t h t h e r a p i s t a n d c l i e n t a r e p r o b l e m s u n t i l
e a c h i s t r a n s f o r m e d — w i t h the h e l p o f the o t h e r — a n d b e c o m e s r e
s o u r c e f u l , t h e r a p e u t i c , a n d h e a l i n g to the s i t u a t i o n .
O u r focus i s specifically o n resourceful contexts. W h e t h e r a n
action, spoken w o r d , or experience i s resourceful i s determined b y
the context e m b o d y i n g it. " R e s o u r c e f u l " d o e s not refer to p a r t i c u l a r
e v e n t s , b u t to the context o f e v e n t s . A m o t h e r ' s p r a i s e for h e r c h i l d
i s n o t r e s o u r c e f u l o n the b a s i s of the w o r d s a l o n e , s p o k e n i n i s o l a
tion. P r a i s e i s r e s o u r c e f u l o n l y w h e n u t t e r e d i n a context that b o t h
perceive a s meaningful a n d positive.
M o s t o f t h e k n o t s that clients a n d therapists get t h e m s e l v e s
i n t o s t e m f r o m c o n f u s i o n g e n e r a t e d b y c o n f o u n d i n g the difference
b e t w e e n context a n d the e v e n t s b e i n g c o n t e x t u a l i z e d . A m a j o r c o n
t r i b u t i o n of G r e g o r y B a t e s o n (1972) w a s h i s n o t i n g o v e r a n d o v e r
a g a i n h o w different l e v e l s of abstraction o r u n d e r s t a n d i n g s a r e
often m i x e d u p , b r e e d i n g p r o b l e m a t i c c o n f i g u r a t i o n s . " C r i m e i s not
the n a m e of a s i m p l e a c t i o n " w a s one of B a t e s o n ' s f a v o u r i t e p a r a
digmatic examples. T h e simple action of "shooting a g u n " i s not
n e c e s s a r i l y a c r i m e . C r i m e i s the n a m e of a context of s i m p l e a c t i o n s
that m a y i n c l u d e " s h o o t i n g a g u n " o r " h i t t i n g a n o t h e r p e r s o n " .
S i m i l a r l y , t h e r a p y i s n o t the n a m e of a s i n g l e a c t i o n . It i s the n a m e of
a context of a c t i o n s that often i n c l u d e " a p p e a r i n g a t a s c h e d u l e d
t i m e " a n d " p a y i n g a fee".
W h e n the i d e a that t h e r a p y i s a context a n d n o t a s i m p l e a c t i o n i s
fully r e a l i z e d , a m a j o r shift i n u n d e r s t a n d i n g takes p l a c e for the
therapist. I t then b e c o m e s clear that there a r e n o p a r t i c u l a r r i g h t
w o r d s , a c t i o n s , o r i n t e r v e n t i o n s that w i l l n e c e s s a r i l y w o r k for a
specific s i t u a t i o n . W h a t i s c a l l e d for i s the m o v e m e n t o f a p r o b l e m
atic context i n t o a r e s o u r c e f u l context. I n a r e s o u r c e f u l context, a l l
uttered lines a n d enacted conduct are contextualized, experienced,
a n d realized a s therapeutic.
W i t h o u t a full c o m m i t m e n t to r e c o g n i z i n g the m e a n i n g o f c o n
text, t h e r a p i s t s w i l l b e c o m e c o n f u s e d b y d o i n g the r i g h t t h i n g i n the
wrong context ( " i t d o e s n ' t w o r k , b u t it s h o u l d " ) o r b y d o i n g
the w r o n g t h i n g i n the right context ("it w o r k s , b u t it s h o u l d n ' t " ) .
INTRODUCTION 3
H o w e v e r , w i t h s u c h a c o m m i t m e n t , the p a r a d i g m o f t h e r a p y i s
c o n c e p t u a l l y q u i t e s i m p l e . I t i n v o l v e s the t r a n s f o r m a t i o n o f t h e c o n
text w i t h i n w h i c h c l i e n t a n d t h e r a p i s t c o n v e r s e .
I n the b e g i n n i n g of the t h e a t r i c a l p l a y c a l l e d " t h e r a p y " , t h e o p e n
i n g c o n t e x t i s often n a m e d " t h e p r o b l e m " . A c t I , " t h e p r o b l e m " ,
f i n d s a c l i e n t s t u c k i n the s i t u a t i o n w h e r e h i s o r h e r e x p e r i e n c e i s
contextualized as " p r o b l e m a t i c " . W h e n a therapist enters the client's
p r o b l e m context, t h e t h e r a p i s t p a r t i c i p a t e s i n m a i n t a i n i n g it. N o
m a t t e r w h a t i s s a i d to the c l i e n t , w h e t h e r it b e i n q u i r i n g a b o u t t h e
b e h a v i o u r a l specifics of the p r o b l e m , descriptions of attempted
s o l u t i o n s , h y p o t h e s e s a b o u t its o r i g i n , o r p r o f e s s i o n a l c a t e g o r i z i n g
a n d s t i g m a t i z i n g , i f it c o n t r i b u t e s to t h e theme of the problem t h e n t h e
t h e r a p i s t i s p o t e n t i a l l y h e l p i n g the c l i e n t s t a y s t u c k i n a p r o b l e m
context
I n R F T , the g o a l o f A c t I i s to get o u t of it a n d m o v e i n t o t h e n e x t
o n e , A c t I I . I n m o s t p l a y s , the m i d d l e act i s the t r a n s f o r m a t i o n a l
h i n g e , l i n k i n g the b e g i n n i n g to the e n d . T h e final act, A c t I I I , i s for
plays with resourceful endings, a situation of resolution a n d
g e n e r a t i v i t y . T h i s i s s h o w n s c h e m a t i c a l l y i n F i g u r e 1. T h i s d i a g r a m ,
the p a r a d i g m o f a p l a y , w h e t h e r t h e r a p y o r o t h e r w i s e , i s the s i m
p l e s t m a p a v a i l a b l e for u n d e r s t a n d i n g the s t r u c t u r e o f t h e r a p y .
W i t h this m a p , t h e r a p y i n v o l v e s d o i n g w h a t e v e r i s n e c e s s a r y to
get o u t o f the p r o b l e m context. A g a i n , a n y t h i n g s a i d o r d o n e i n the
p r o b l e m context, e v e n i f i t s e e m s t h e " r i g h t t h i n g " , i s a l w a y s a
potential p r o b l e m b y virtue of its being contextualized a s a m e m b e r
of t h e p r o b l e m a t i c context. How o n e g e t s o u t o f t h i s c o n t e x t i s
l e s s i m p o r t a n t t h a n g e t t i n g o u t of it. T a l k i n g a b o u t the w o r l d s e r i e s
or fishing o r cooking i s u s u a l l y m o r e resourceful than d i s c u s s i n g
anxiety a n d depression. T h e trick, h o w e v e r , i s eventually getting
i n t o a c o n t e x t w h e r e a l l that i s d i s c u s s e d c a n be c o n t e x t u a l i z e d a s a
r e s o u r c e . H e r e , w h a t w a s f o r m e r l y c a l l e d the " p r e s e n t i n g p r o b l e m "
m a y n o w be discussed as a resource.
Beginning Act: Middle Act: Final Act.

Problem Resourceful
->~ Bridge
Context Context
FIGURE 1
W h a t i s n e v e r to b e forgotten i s that t h e r a p y d o e s n o t a d d r e s s
p r o b l e m p a r t i c u l a r s , b u t p r o b l e m contexts. P r o b l e m b e h a v i o u r s a r e
n o t t h e w h o l e of the p r o b l e m . T h e c o n t e x t u a l i z a t i o n o f a n y b e h a v
i o u r a s a p r o b l e m i s the w h o l e that e m b r a c e s t h e p r o b l e m . T h i s
orientation to t h e r a p y , previously presented i n Improvisational
Therapy: A Practical Guide for Creative Clinical Strategies ( K e e n e y ,
1991), i s r o o t e d e n t i r e l y i n k e e p i n g track of the context of o n e ' s
performance.
I n theatrical t e r m s , the n a m e of the s c e n e i n w h i c h o n e ' s l i n e s
are articulated m u s t a l w a y s be kept i n m i n d . Offering help i n a
p r o b l e m a t i c o r i m p o v e r i s h e d s c e n e i s often n o t h e l p f u l . C r e a t i n g a n
o p e n i n g that h e l p s get y o u a n d the client o u t of i m p o v e r i s h e d c o n
texts i s t h e first s t e p t o w a r d s b e i n g t h e r a p e u t i c . G e t t i n g i n t o a n d
m a i n t a i n i n g a c o n s t a n t p r e s e n c e i n a r e s o u r c e f u l context i s the final
act of therapy.
R e s o u r c e - f o c u s e d t h e r a p y i s c o n c e r n e d w i t h getting c l i e n t s a n d
t h e r a p i s t s into a r e s o u r c e f u l context a s q u i c k l y a n d efficiently a s
p o s s i b l e . I f it i s p o s s i b l e to ignore the p r o b l e m c o m p l e t e l y , this m a y
b e d o n e . I f the p r o b l e m m u s t b e e x a g g e r a t e d to b r e a k i n t o a n o t h e r
scene, this m a y be encouraged.
F o c u s i n g o n getting into a n d s t a y i n g i n a r e s o u r c e f u l context
r e q u i r e s m i n i m i z i n g other actions a n d u n d e r s t a n d i n g s p r e v i o u s l y
a s s o c i a t e d w i t h the p r o f e s s i o n of t h e r a p y . I n t e a c h i n g R F T , t r a i n e e s
a r e e n c o u r a g e d to p r e t e n d that they a r e n o t t h e r a p i s t s a n d that
they h a v e forgotten a l l their t r a i n i n g , e x p l a n a t o r y m e t a p h o r s , a n d
p r e s c r i p t i o n s for h o w to b e p r o f e s s i o n a l . T h e y a r e i n v i t e d to b e
e x p e r i m e n t a l p e r f o r m a n c e artists, i m a g i n a t i v e c o n v e r s a t i o n a l i s t s ,
rhetorical consultants, or simply someone w h o uses a n d u n d e r
stands less professional understandings a n d acts more towards
c r e a t i n g a context o f r e s o u r c e f u l e x p e r i e n c e .
H i s t o r i c a l l y s p e a k i n g , R F T i s r o o t e d i n the g e n r e o f t h e r a p y
called "Brief T h e r a p y " . Brief T h e r a p y is rooted i n S u l l i v a n ' s " I n t e r
p e r s o n a l T h e o r y " (1953) a n d w a s e l a b o r a t e d after h i s d e a t h b y o n e
of h i s s t u d e n t s , D o n D . J a c k s o n . S u l l i v a n w a s o n e o f t h e first
to i n s i s t t h a t i t m a k e s n o s e n s e to talk o f a self a n d i t s s t r i v i n g s
s e p a r a t e f r o m the i n t e r p e r s o n a l r e l a t i o n s n e x u s o f w h i c h i t i s p a r t
( M u l l a h y , 1967). F i r s t a s a m e m b e r of the B a t e s o n r e s e a r c h p r o j e c t s
o n paradox i n c o m m u n i c a t i o n (Bateson, Jackson, H a l e y , & W e a k
l a n d , 1956; J a c k s o n & W e a k l a n d , 1961), a n d later i n t h e C o n j o i n t
INTRODUCTION 5
F a m i l y T h e r a p y M o d e l p i o n e e r e d a t the M e n t a l R e s e a r c h I n s t i t u t e
( M R I ) , w h i c h h e f o u n d e d i n 1959, J a c k s o n a n d h i s c o l l e a g u e s l a i d
m a n y o f t h e f o u n d a t i o n s for B r i e f T h e r a p y ( R a y , 1992b). T h e s e
pioneers d i d not w o r k i n isolation. T h e y studied a n d w e r e influ
e n c e d b y m a n y o f t h e l e a d i n g t h e r a p i s t s of t h e i r t i m e , p a r t i c u l a r l y
the p r o d i g i o u s h y p n o t h e r a p i s t M i l t o n E r i c k s o n ( E r i c k s o n , H a l e y , &
W e a k l a n d , 1959; H a l e y , 1967).
T h e b i r t h o f o n e of the m o s t i n f l u e n t i a l b r i e f t h e r a p y o r i e n t a t i o n s
w a s a s s o c i a t e d w i t h t h e c l a s s i c text w r i t t e n b y three o f J a c k s o n ' s
colleagues a t the M R I — P a u l W a t z l a w i c k , John W e a k l a n d , a n d
R i c h a r d F i s c h — e n t i t l e d , Change: Principles of Problem Formation and
Problem Resolution (1974). T h e y a b a n d o n e d m u c h of the e x c e s s i v e
w e i g h t o f theoretical p s y c h o t h e r a p y b a g g a g e to f o c u s o n p r o b l e m
definitions a n d descriptions of attempted solutions. A s a therapeu
tic O c c a m ' s R a z o r , t h i s o r i e n t a t i o n h e l p e d free m a n y t h e r a p i s t s to
f o c u s o n d e s i g n i n g i m a g i n a t i v e i n t e r v e n t i o n s that a i m a t d i s r u p t i n g
the interactional patterns e m b o d y i n g p r o b l e m conduct.
I n a s i m i l a r v e i n , Jay H a l e y ( a n o t h e r f o r m e r m e m b e r o f B a t e s o n ' s
d i s t i n g u i s h e d r e s e a r c h t e a m ) , i n h i s c l a s s i c c o n t r i b u t i o n , Problem-
Solving Therapy (1976), took specific a i m a t b u s t i n g p r o b l e m s . L e s s
parsimonious than Watzlawick, Weakland, a n d Fisch, Haley pre
f e r r e d a m o r e e l a b o r a t e d m y t h o l o g y to a c c o u n t for t h e o c c u r r e n c e
and persistence of symptoms. Influenced b y h i s colleagues
M i n u c h i n a n d M o n t a l v o , h e d e v e l o p e d a s o c i o l o g i c a l m a p for c o n
textualizing s y m p t o m s i n terms of coalitions, hierarchy, a n d social
p o w e r . T o H a l e y ' s credit, a rigorous formal theory w a s never built.
I n s t e a d h i s text l o o s e l y d r e w o n s i m p l e h e u r i s t i c s a n d g e n e r a l i z a
t i o n s that a i d t h e t h e r a p i s t i n f o c u s i n g i n a specific wayon
alleviating "problem-in-social-sequences".
T h e p o t e n t i a l l y p r o b l e m a t i c c a t c h i n the w o r k b o t h o f t h e W e a k
l a n d , F i s c h , a n d W a t z l a w i c k team a n d of H a l e y concerns their focus
o n t h e p r o b l e m a s t h e t h e m e of t h e r a p y . A l t h o u g h their i n t e n t i o n i s
to free t h e s o c i a l s y s t e m f r o m b e i n g o r g a n i z e d b y a p r o b l e m , t h e i r
f o c u s o n t h e p r o b l e m c a r r i e s the risk that the t h e r a p i s t m a y c o n t r i b
u t e to m a i n t a i n i n g p r e s e n c e i n the p r o b l e m context.
T h e w o r k of d e S h a z e r (1982, 1988), a s t u d e n t of W e a k l a n d ,
emphasizes solutions—the necessarily implied a n d complementary
side of all problems. H e r e a de-emphasis is placed o n problems p e r
s e a n d a n effort i s g i v e n to s e a r c h for s o l u t i o n c o n d u c t . T h e p o t e n t i a l
p r o b l e m w i t h this a p p r o a c h i s that a focus o n s o l u t i o n s d o e s n o t

n e c e s s a r i l y r e m o v e o n e f r o m the p r o b l e m s they a r e s u p p o s e d to
solve.
T o focus o n either p r o b l e m s o r s o l u t i o n s i s to r e m a i n c o n
t e x t u a l i z e d w i t h i n the w h o l e d i s t i n c t i o n o f p r o b l e m s / s o l u t i o n s . T h e
t w o a r e i n s e p a r a b l e , a n d o n e s i d e b r i n g s forth the other. A s F i s c h ,
W e a k l a n d , a n d S e g a l (1982) d e m o n s t r a t e , problems bring forth
a t t e m p t e d s o l u t i o n s . B l o c k i n g the t y p e of c l a s s o r a t t e m p t e d s o l u
tion i s for t h e m the efficient, although roundabout, w a y of
alleviating the problem. F o r d e Shazer a n d other solution-focused
t h e r a p i s t s , a focus o n s o l u t i o n s b r i n g s f o r t h — w h e t h e r s p o k e n a b o u t
or not—problems. A potential d i s a d v a n t a g e for b o t h problem
f o c u s e d a n d s o l u t i o n - f o c u s e d t h e r a p i e s i s that t h e y e a c h r i s k h o l d
i n g t h e t h e m e of t h e r a p y i n A c t I , the context c a l l e d " p r o b l e m " . I n
t h i s context, b o t h r i g h t a n d w r o n g s o l u t i o n s r i s k r e m a i n i n g a w a y of
p r e s e r v i n g the p r o b l e m context.
T h e r a p i s t s w h o a t t e m p t to l e a r n p r o b l e m - a n d s o l u t i o n - f o c u s e d
t h e r a p i e s h a v e too e a s i l y o v e r l o o k e d the context w i t h i n w h i c h p r o b
l e m s a n d s o l u t i o n s a r e d i s c u s s e d . T h e s e o r i e n t a t i o n s t e n d to h a v e a
b e h a v i o r i s t i c feel to t h e m that m a y s e d u c e the t h e r a p i s t i n t o l o o k i n g
a t b i t s of a c t i o n o r s e q u e n c e s of a c t i o n w i t h o u t r e g a r d to the c o n t e x t
of r h e t o r i c g i v i n g it m e a n i n g .
T h e c o n t r i b u t i o n o f the M i l a n a p p r o a c h to s y s t e m i c family
t h e r a p y , p a r t i c u l a r l y the w o r k of C e c c h i n a n d B o s c o l o (Boscolo,
C e c c h i n , H o f f m a n , & P e n n , 1987; C e c c h i n , L a n e , & R a y , 1 9 9 1 , 1 9 9 2 ,
1993), h e l p e d correct this d e f i c i e n c y i n contextual vision. T h e i r
a p p r o a c h r a d i c a l l y e m p h a s i z e s the contexts of m e a n i n g (see K e e n e y
& R o s s , 1992). A t the s a m e t i m e , b e i n g i n f l u e n c e d b y the t h e o r e t i c a l
i d e a s o f c o a l i t i o n s , p a r a d o x , a n d s o forth, t h i s o r i e n t a t i o n a l s o sets
u p t h e potential to fall into the t r a p o f m a i n t a i n i n g a focus o n t h e
p r o b l e m / s o l u t i o n d i s t i n c t i o n , p a r t i c u l a r l y w i t h its focus o n " t h e
p r o b l e m i s the s o l u t i o n " .
T h i s r e v e r s a l of the W a t z l a w i c k , W e a k l a n d , a n d F i s c h s l o g a n ,
" t h e s o l u t i o n i s t h e p r o b l e m " , i s h a l f o f the w h o l e d i s t i n c t i o n : ( t h e
s o l u t i o n i s t h e p r o b l e m / t h e p r o b l e m i s the s o l u t i o n ) . E i t h e r s i d e
i m p l i e s t h e o t h e r a n d m a i n t a i n s the w h o l e t h e o r y o f b e i n g i n a
universe of problems, solutions, problem solutions, a n d solution
problems.
INTRODUCTION 7
A s p a r t of t h i s h i s t o r i c a l t r a d i t i o n of b r i e f t h e r a p i e s , o u r w o r k h a s
n a t u r a l l y d e v e l o p e d o u t of o u r u n d e r s t a n d i n g a n d p r a c t i c e o f t h e
c o n t r i b u t i o n s of B a t e s o n , S u l l i v a n , J a c k s o n , W e a k l a n d , F i s c h , H a l e y ,
C e c c h i n , a n d B o s c o l o , a m o n g o t h e r s . W h a t w e b r i n g to the t h e o r e t i
c a l table i s a n i d e n t i f i c a t i o n of w h a t a l l these a p p r o a c h e s s e e m to b e
after, i n s p i t e o f the v e r y different m e t a p h o r s t h e y u s e to d i s c u s s
their u n d e r s t a n d i n g .
S p e c i f i c a l l y , t h e g o a l o f t h e r a p y i s to get c l i e n t s a n d t h e r a p i s t s o u t
of p r o b l e m / s o l u t i o n c o n t e x t s a n d i n t o a r e s o u r c e f u l context. I n a
r e s o u r c e f u l c o n t e x t the p r o b l e m c a n b e s e e n a s a s o l u t i o n a n d s o l u
t i o n s a s p r o b l e m s . H e r e , h o w e v e r , the n e w u n d e r s t a n d i n g t a k e s
p l a c e o u t s i d e of a p r o b l e m / s o l u t i o n context.
PROBLEM-FOCUSED THERAPY
I n i l l u s t r a t i v e t e r m s , R F T e v o l v e d o u t of the h i s t o r y o f b r i e f t h e r a p y
i n the following fashion. B e g i n n i n g w i t h problem-focused thera
pies, the client's presenting complaints are m o v e d to a specific
p r o b l e m focus a n d then taken t o w a r d s trying n e w solutions. H e r e
the final contextual theme is " p r o b l e m s o l v i n g " , sometimes a c c o m
p a n i e d b y t h e t h e r a p i s t ' s u n c o m m o n u n d e r s t a n d i n g that " s o l u t i o n s
a r e often p r o b l e m s " (see F i g u r e 2).
SOLUTION-FOCUSED THERAPY
S o l u t i o n - f o c u s e d t h e r a p i e s m o v e the c l i e n t ' s c o m p l a i n t s to a s o l u
t i o n f o c u s a n d t h e n g o o n to d i s c u s s the u t i l i z a t i o n o f s o l u t i o n
c o n d u c t a s a p r a c t i c a l m e a n s of r e s o l v i n g their p r o b l e m a t i c s i t u a
t i o n . H e r e the f i n a l c o n t e x t u a l t h e m e i s " s o l v i n g p r o b l e m s " w i t h a
Beginning Middle End
Proble
Problemm Solving
Solving
Client's Problem
(Solution
(Solution Is
Complaint Focus
Problem
Problem))
FIGURE 2 Problem-Focused Therapy

8 R E S O U R C E - F O C U S E DT H E R A P Y
Solvin
Solving
g Problem
Problemss
Client's Solution
(Solution
(Solution Is
Complaint ^ Focus
Solution)
Solution)
FIGURE 3 Solution-Focused Therapy
r e t u r n to the c o m m o n - s e n s e u n d e r s t a n d i n g that " p r e v i o u s l y s u c

cessful solutions m a y become r e - s o l u t i o n s for o t h e r problems"
( F i g u r e 3).
MILAN SYSTEMIC THERAPY

T h e contextual o r systemic orientation of M i l a n m o v e s clients' c o m
plaints to t h e s o c i a l contexts organizing their conduct. This
e v e n t u a l l y e n a b l e s t h e m to a r r i v e at a p l a c e w h e r e p r o b l e m s a r e
u n d e r s t o o d a s c o n t e x t u a l s o l u t i o n s (see F i g u r e 4 ) .
RESOURCE-FOCUSED THERAPY
R e s o u r c e - f o c u s e d t h e r a p y m o v e s c l i e n t s ' p r e s e n t i n g c o m p l a i n t s to
w a r d s any c o n t e x t that i s s i m p l y m o r e r e s o u r c e f u l . I t e n d s w h e n a
w e l l - f o r m e d r e s o u r c e f u l context i s e s t a b l i s h e d w h e r e i n p r o b l e m s /
s o l u t i o n s , a n d p r o b l e m / s o l u t i o n contexts m a y b e c o n t e x t u a l i z e d a s
r e s o u r c e f u l . F o r R F T , r e s o u r c e f u l t h e m e s a r e f o u n d to b e m o r e r e -
Problem
Problem Is
Client's ^Contextual
Contextual
Contextual
Complaint Focus
Solutio
Solution
n
FIGURE 4 Milan Systemic Therapy

INTRODUCTION 9
Enacting a
More
Client's Well-Formed
Resourceful
Complaint Resourceful
Focus
Context
FIGURE 5 Resource-Focused Therapy
s o u r c e f u l t h a n p r o b l e m , s o l u t i o n , o r p r o b l e m c o n t e x t t h e m e s (see
F i g u r e 5).
I n R F T , t h e r a p y i d e a l l y e n d s u p b e i n g o u t s i d e of therapy.
T h e r a p y e n d s i n a c o n t e x t of r e s o u r c e f u l c o n d u c t , a c t i o n that b y its
v e r y d e f i n i t i o n d o e s not r e q u i r e t h e r a p y . A t the final s t a g e , b o t h
t h e c l i e n t a n d the t h e r a p i s t m a y be e m b a r r a s s e d to f i n d t h e m
s e l v e s i n t h e r a p y . A s m a y b e s e e n i n the c a s e s t u d i e s that f o l l o w ,
c l i e n t s a n d t h e r a p i s t s e n j o y a n d fully p a r t i c i p a t e i n b r i n g i n g forth
the b r e a t h of life a n d i m a g i n a t i o n w i t h i n e a c h other. I n t h i s h e a l
i n g c o n t e x t , there i s n o h e a l e r o r therapist. A l l a c t i o n i n the h e a l i n g
c o n t e x t i s h e a l i n g for a l l p a r t i c i p a n t s .
* * *
I n the c h a p t e r s i n this b o o k , c h a p t e r t w o i m m e d i a t e l y p r e s e n t s t h e
theoretical a n d p r o c e d u r a l m a p s a n d a n t i - m a p s w e h a v e f o u n d
u s e f u l i n u n d e r s t a n d i n g R F T . C h a p t e r s three to s i x p r e s e n t c a s e
s t u d i e s e x e m p l i f y i n g t h e p r a c t i c e of R F T . C h a p t e r s e v e n i s a set of
e x e r c i s e s w e h a v e u s e d to h e l p t h e r a p i s t s d e v e l o p c r e a t i v e w a y s
of b r i n g i n g forth r e s o u r c e f u l n e s s . T h e final c h a p t e r p r o v i d e s s o m e
r e s o u r c e q u o t e s for r e s o u r c e - f o c u s e d t h e r a p i s t s .
CHAPTER TWO
Theoretical and procedural maps

(and anti-maps)
Bradford R Keeney & Wendel A Ray
I
n t h e first p a r t o f t h i s c h a p t e r a d e l i n e a t i o n o f t h e o r e t i c a l i d e a s ,
n o t i o n s , m e t a p h o r s , h e u r i s t i c s , a n d m a p s i s s e t forth that w e
find useful i n understanding resource-focused therapy. W e d o
n o t b e l i e v e that a t h e r a p i s t n e c e s s a r i l y n e e d s to u n d e r s t a n d a l l o f
t h e s e o r , i n d e e d , a n y o f t h e m . I t i s p o s s i b l e to b e a s k i l l e d p r a c t i
t i o n e r o f t h e a p p r o a c h w i t h o u t r e f e r e n c e to a n y o f these i d e a s . I n
o u r o w n e x p e r i e n c e w i t h t r a i n i n g o t h e r s , h o w e v e r , these m a p s ( a n d
a n t i - m a p s ) h a v e often p r o v e d u s e f u l i n t h e a t t e m p t to m o v e t h e r a
p i s t s i n t o t h e c o n t e x t o f h e l p i n g to b u i l d r e s o u r c e f u l contexts.
T h e s e c o n d p a r t o f t h e c h a p t e r sets o u t t h e p r a c t i c a l p r o c e d u r e s
involved i n conducting R F T . A s will be seen, each session is con
c e i v e d o f a s a p l a y , c o m p o s e d of b e g i n n i n g , m i d d l e , a n d f i n a l acts.
A . Theoretical maps (and anti-maps)

1. Least a m o u n t of information:
R F T a d v i s e s the b r i n g i n g forth o f the least i n f o r m a t i o n n e c e s s a r y

from the c l i e n t . T h i s i s p a r t i c u l a r l y the c a s e i n A c t I o f t h e r a p y , i n
w h i c h t h e c l i e n t a t t e m p t s to e x p l a i n h i s o r h e r p r e s e n c e . T h e
m o r e i n f o r m a t i o n b r o u g h t forth i n a p r o b l e m context, t h e m o r e
11
difficult it m a y b e to get o u t of that p r o b l e m context. T h e r a p i s t s

s h o u l d n o t forget that the m o r e o n e a s k s , the m o r e o n e gets.
T h e d a t a b a n k of the c l i e n t i s a n infinite r e s e r v o i r that i n c l u d e s
contradictory, ever-changing descriptions and beliefs. Too
m a n y t h e r a p i s t s d r o w n i n this v a s t s e a of i n f o r m a t i o n . O n c e
o n e f i n d s s o m e t h i n g r e s o u r c e f u l , u s e it. T h e r e m a y b e n o n e e d to
d i g further.
2. L e a s t a m o u n t of time:
W h e n the w o r k i s d o n e , stop the s e s s i o n . H o w m a n y t i m e s d o e s
a t h e r a p i s t create the t h e r a p e u t i c m o m e n t i n the first 10 o r 20
m i n u t e s of a s e s s i o n a n d then u n w i n d it i n the r e m a i n i n g t i m e ?
W h e n the s e s s i o n i s o v e r , r e c o g n i z e a n d u t i l i z e its c l o s u r e . T h e
i d e a that 4 0 to 60 m i n u t e s is r e q u i r e d i s l e s s r e s o u r c e f u l t h a n
creating well-formed sessions a n d closures.
3. S i n g l e - s e s s i o n focus:
A l l s e s s i o n s a i m at b e i n g a w h o l e t h e r a p y . T h i s h e l p s create a
focus o n a c h i e v i n g a beginning, m i d d l e , a n d e n d . S h o u l d the
c l i e n t s r e t u r n for a s u b s e q u e n t s e s s i o n , that s e s s i o n i s treated a s a
n e w case. O f c o u r s e , this n e w c a s e w i l l h a v e to c o n s i d e r t h e
s e s s i o n that took p l a c e w i t h that other t h e r a p i s t t h e t i m e before.
T h a t o t h e r therapist, w h o m i g h t be y o u at a n o t h e r t i m e , w i l l
h a v e to b e c o n s i d e r e d n o w a s p a r t of the t h e r a p y .
4. L e a s t a m o u n t of theory:
T h e l e s s theoretical u n d e r s t a n d i n g i n the m i n d of the t h e r a p i s t
d u r i n g a s e s s i o n , the m o r e l i k e l y that the t h e r a p i s t c a n u t i l i z e h i s
o r h e r i m a g i n a t i o n . T h e o r y i s r e s e r v e d for p o s t - m o r t e m a n a l y s i s
o r l a t e - n i g h t r a p s e s s i o n s . I n the s a m e w a y , a m u s i c i a n k e e p s
c o n s c i o u s attention off m u s i c theory w h e n p e r f o r m i n g . T h e o r y
h a s its p l a c e a n d c o n t r i b u t i o n , b u t n o t n e c e s s a r i l y i n the m i n d of
the t h e r a p i s t e n g a g e d w i t h a c l i e n t
5. Least is done:
D o a s little a s y o u h a v e to i n o r d e r to h e l p m o v e the c o n v e r s a t i o n
i n t o a r e s o u r c e f u l context. W h e n i t ' s there, l e a v e it a l o n e . I f the
c l i e n t p r e s e n t s c o n d u c t that m a i n t a i n s the r e s o u r c e f u l context,
k e e p quiet. N o t o n l y s h o u l d t h e r a p i s t s d o the l e a s t h a r m , t h e y
s h o u l d do the least.
THEORETICAL A N D PROCEDURAL MAPS 13
6. No psychology:
T h e p r o f e s s i o n a l i z e d r i t u a l s of t h i n k i n g a n d t r e a t m e n t c a l l e d
p s y c h o l o g y a r e a v o i d e d l i k e the p l a g u e . N o u s e of D S M - I H i s
e v e r c o n s i d e r e d b e c a u s e it w o u l d b e c o n c r e t i z i n g the p r o b l e m
c o n t e x t , m a k i n g it e x t r e m e l y difficult to m o v e t h e r a p y f o r w a r d .
P s y c h o l o g i z i n g — t h e u s e of h y p o t h e s e s for e x p l a i n i n g the i n
t e r n a l a n d e x t e r n a l w o r k i n g s of p e o p l e — i s a l s o a v o i d e d ; it k e e p s
the f o c u s off l o o k i n g for r e s o u r c e s a n d t y p i c a l l y r e t u r n s o n e to
explaining non-resourceful conduct.
7. N o sociology:
N o h y p o t h e s e s a b o u t s o c i a l o r g a n i z a t i o n s a r e e n c o u r a g e d , for
the s a m e r e a s o n s g i v e n for a b s t a i n i n g f r o m p s y c h o l o g i z i n g . T h e
s o c i o l o g i c a l p e r s p e c t i v e too e a s i l y f o c u s e s o r e x p l a i n s p r o b l e m s
a n d de-focuses one from recognizing a n d utilizing resources.
8. N o totalizing ideology:
N o t o n l y i s there n o e m p h a s i s g i v e n to p s y c h o l o g y o r s o c i o l o g y ,
but no ideology, whether m o d e r n , post-modern, narrative, or
u n s p o k e n , i s e m p h a s i z e d that d i s t r a c t s the t h e r a p i s t f r o m t h e
w o r k at h a n d . M o v i n g a w a y f r o m e x p l a i n i n g p r o b l e m s a n d
t o w a r d s u t i l i z i n g r e s o u r c e s i s the g o a l of R F T w o r k .
9. N o particular narrative:
N o p a r t i c u l a r i m p o r t a n c e i s g i v e n to i d e o l o g i e s a n d t h e o r i e s that
e m p h a s i z e stories a n d narratives. C l i e n t s are not seen as w a l k i n g
a r o u n d w i t h i m p o v e r i s h e d stories, n o r a r e p e o p l e i n g e n e r a l
s e e n a s n e c e s s a r i l y r e l a t e d to a n y t h i n g a theorist w o u l d c a l l a
s t o r y . T h i s i s n o t to s a y that s t o r i e s a r e n o t u s e d i n R F T — i f they
a r e r e s o u r c e f u l to a c l i e n t , t h e y m a y b e u s e d . T h e u s e of s t o r i e s a s
a c o m p o n e n t of a n i d e o l o g y a b o u t s t o r i e s i n t h e r a p y i s n e g a t e d ,
w h e r e a s s t o r i e s that a r e r e s o u r c e f u l to c l i e n t s a r e u s e d .
10. Improvisation:
T h e r a p i s t s a r e i m p r o v i s a t i o n a l to different d e g r e e s a n d i n differ
e n t w a y s . A t the s i m p l e s t l e v e l r e g a r d i n g p a r t i c u l a r u t t e r a n c e s ,
n o o n e e v e r r e a l l y k n o w s w h a t l i n e s w i l l b e s p o k e n . N e v e r t h e
l e s s , p a r t i c u l a r s c h o o l s of t h e r a p y a t t e m p t to p r e s c r i b e i d e a l i z e d
c o n v e r s a t i o n s that c l i e n t s a n d t h e r a p i s t s s h o u l d p e r f o r m . I n
the s c h o o l e d a p p r o a c h e s to t h e r a p y , a t h e r a p i s t m u s t w a i t for
the c l i e n t to s a y the r i g h t l i n e . P r o b l e m - s o l v i n g t h e r a p i s t s , for

e x a m p l e , h a v e to w a i t for the c l i e n t to d e f i n e a p r o b l e m b e f o r e
the c o n v e r s a t i o n c a n m o v e f o r w a r d .
W h e n a t h e r a p i s t d o e s n o t f o l l o w a s c h e m a for t h e r a p e u t i c
c o n v e r s a t i o n , the d e g r e e of i m p r o v i s a t i o n i s f u r t h e r e l a b o r a t e d .
H e r e , b o t h t h e r a p i s t a n d client h a v e n o i d e a i n the b e g i n n i n g
w h e r e they w i l l be g o i n g . M u c h of M i l t o n E r i c k s o n ' s e a r l y c l i n i
c a l w o r k ( H a l e y , 1967) a p p e a r e d this w a y , w i t h a u n i q u e t h e r a p y
b u i l t for e a c h u n i q u e c l i e n t a n d t h e r a p e u t i c s i t u a t i o n .
R F T e n c o u r a g e s a n u n d e r s t a n d i n g a n d p r a c t i c e o f the i m
p r o v i s a t i o n a l n a t u r e of t h e r a p e u t i c e n c o u n t e r . L i k e i m p r o v i s a
tional actors o n a stage, a f e w l i n e s a r e offered a n d a p l a y m u s t b e
c r e a t e d o u t of those l i n e s . W e n e v e r k n o w w h a t c l i e n t s w i l l
p r e s e n t for u s to w o r k w i t h . O u r j o b i s to j o i n w i t h t h e m a n d
create a p l a y that m o v e s the c o n v e r s a t i o n i n t o a final r e s o u r c e f u l
exit.
11. Radical constructivism/deconstructivism:
R F T a i m s to d e c o n s t r u c t p r o b l e m a t i c n o n - r e s o u r c e f u l c o n t e x t s
a n d c o n s t r u c t r e s o u r c e f u l contexts. I n this r e g a r d it i s a n a t t e m p t
to b u i l d n e w realities for c l i e n t s a n d t h e r a p i s t s to enter a n d f u l l y
p a r t i c i p a t e i n . T h e p a t h to b u i l d i n g these realities r e q u i r e s a c t i n g
differently i n o r d e r to see a n d u n d e r s t a n d differently. F o l l o w i n g
H e i n z v o n F o e r s t e r ' s (1984a, 1984b) i n v e r s i o n o f c u l t u r a l c o m
m o n s e n s e , o n e m u s t a c t i n o r d e r to see. T h e r a p i s t s a c c u s t o m e d
to first d i a g n o s i n g a n d u n d e r s t a n d i n g before a c t i n g to a t t e m p t a
c h a n g e w i l l find t h e m s e l v e s w o r k i n g i n r e v e r s e . H e r e the t h e r a
p i s t a c t s first i n o r d e r to u n d e r s t a n d h o w s u b s e q u e n t l y to act.
12. Cybernetic:
R F T i s c y b e r n e t i c i n that o u t c o m e s , r a t h e r t h a n hypotheses,
s h a p e the t h e r a p i s t ' s m o v e s . F o l l o w i n g the p r e v i o u s i d e a o f
a c t i o n - b a s e d c o n s t r u c t i v i s m , the m e a n i n g of a b e h a v i o u r i s
f o u n d i n the s u b s e q u e n t b e h a v i o u r it e v o k e s , w h e t h e r i n o n e s e l f
o r i n o t h e r s ( J a c k s o n & W e a k l a n d , 1959; J a c k s o n , 1965).
13. Systemic/contextual:
A g a i n , t h e f o c u s i n R F T i s o n the context o r s y s t e m o f u t t e r e d
l i n e s , a c t i o n , a n d e x p e r i e n c e . T h e l i n e , " I p l a n to k i l l m y s e l f " , i s
l e s s i m p o r t a n t t h a n the context w i t h i n w h i c h it i s p r e s e n t e d . A
R F T t h e r a p i s t w o u l d p r i m a r i l y t h i n k o f h o w to c h a n g e the c o n
text o f t h e l i n e r a t h e r t h a n b e c o m e o r g a n i z e d b y the l i n e . I f the
t h e r a p i s t p a n i c s a n d r e a c t s a s if the c l i e n t m a y k i l l h i m s e l f , t h e
t h e r a p i s t p o t e n t i a l l y c o n t r i b u t e s to the c l i e n t ' s belief that t h i s
d e a t h threat i s r e a l . I n this w a y the t h e r a p i s t m a y b e c o m e a n
a c c e s s o r y to the c r i m e b y v e r i f y i n g a n d e v e n e s c a l a t i n g the v a l i d
ity o f the i m p o v e r i s h i n g context.
A n o t h e r t h e r a p i s t m i g h t a s k w h e t h e r the c l i e n t h a s w r i t t e n a
s u i c i d e note. H o w l o n g w i l l the n o t e b e ? T y p e d o r h a n d w r i t t e n ?
W h a t c o l o r i n k ? W h a t a b o u t l e a v i n g a s u i c i d e b o o k i n s t e a d of a
note? A n d s o forth. H e r e the d e a t h threat i s s h i f t e d into w h a t
i n i t i a l l y a p p e a r s to b e o n e of the technicalities of the s u i c i d e note
a n d f i n a l l y , p e r h a p s , to the context of w r i t i n g .
T h e systemic/contextual view always places a n importance
o n all relevant others w h o participate i n b u i l d i n g , creating, o r
d e s t r o y i n g the c l i e n t ' s realities. T h e e m p h a s i s w i l l b e r e s t r i c t e d
to u t i l i z i n g o t h e r p e o p l e i n w a y s that c o n t r i b u t e to m a i n t a i n i n g a
r e s o u r c e f u l context.
14. C o m m u n i c a t i o n a l p r o c e s s :
A s w a s p r e s e n t e d i n a p r e v i o u s w o r k ( K e e n e y , 1991), t h e r a p y
m a y b e u n d e r s t o o d i n t e r m s of the c o n v e r s a t i o n a l l i n e s u t t e r e d
b y s p e a k e r s , the f r a m e s that f r a m e ( c o n t e x t u a l i z e ) t h e m , a n d t h e
g a l l e r i e s that f r a m e frames. T h i s e m p h a s i s u p o n c o m m u n i c a t i v e
performance encourages the u s e of theatrical m e t a p h o r s to
d e s c r i b e t h e r a p y . O t h e r n o t i o n s of c o m m u n i c a t i o n a l process
e l a b o r a t e d e l s e w h e r e i n c l u d e o r d e r s of a b s t r a c t i o n a r r a n g e d i n a
r e c u r s i v e d i a l e c t i c a l l a d d e r (see B a t e s o n , 1972; K e e n e y , 1983);
a n d s e m a n t i c s , politics, c h a n g e , stability, a n d m e a n i n g f u l n o i s e
(see K e e n e y & S i l v e r s t e i n , 1987; K e e n e y & R o s s , 1992).
15. N o official " n a r r a t o r " :
T h e t h e r a p i s t i s n o t r i g i d l y r e g a r d e d a s the sole d i r e c t o r or e d i t o r
of the c o n v e r s a t i o n a l p l a y . B e c a u s e the t h e r a p i s t i s k e p t i n a state
of i g n o r a n c e d u e to l i m i t e d i n f o r m a t i o n a n d b l o c k a g e o f p r o f e s
s i o n a l e x p l a n a t i o n - m a k i n g , the t h e r a p i s t p r o v i d e s a s o u r c e o f
the r a n d o m for the client. T h e i g n o r a n t t h e r a p i s t w h o i s c a p a b l e
of s p e a k i n g n o n s e n s e m a y h e l p clients c o n s t r u c t n e w w a y s of
m a k i n g s e n s e of their l i v e s .
R F T a l s o rejects the i d e a that it i s a l w a y s u s e f u l for c l i e n t s to

accept the t h e r a p i s t ' s s u g g e s t i o n s . A l l rejections of the t h e r a p i s t ' s
i d e a s c a n b e s e e n a s r e s o u r c e f u l : the rejections e m p o w e r c l i e n t s
to take c h a r g e of the a u t h o r s h i p a n d o w n e r s h i p of their p a r t i c i
pation.
T h e i d e a of a story i m p l i e s a r i g i d l i t e r a r y f o r m , b e g i n n i n g
with "Once upon a t i m e . . . " and ending with . . a n d they l i v e d
h a p p i l y e v e r after". M o s t clients, h o w e v e r , d o n o t o r g a n i z e t h e i r
l i v e s b y a n y text that w o u l d be r e c o g n i z a b l e a s the l i t e r a r y f o r m
of a story. If a t h e r a p i s t b e l i e v e s that s u c h stories a r e t h e r e
a n d s h o u l d b e there, t h e n of c o u r s e that t h e r a p i s t w i l l a i m to
create t h e m . W e , h o w e v e r , a s s u m e that at best m o s t p e o p l e l i v e
i n a collage of e v e r - c h a n g i n g , d i s c o n t i n u o u s s t r a n d s of s t o r y
l i n e s that c h a n g e a n d r e - c h a n g e g i v e n the p a r t i c u l a r s o c i a l
stage, t i m e , a n d e v e n the m e t a b o l i s m of the p r e v i o u s m e a l .
T h e r a p i s t s a d d i c t e d to the b e l i e v e d reality of s t o r i e s m a y be
r e p l a y i n g the t h e o r e t i c i a n ' s s e a r c h for t o t a l i z i n g i d e o l o g i e s . T h e
a b s t r a c t i o n s h a v e s i m p l y b e e n r e m o v e d i n f a v o u r of a m o r e
e n t e r t a i n i n g a n d m a n a g e a b l e l i t e r a r y form.
16. Q u e s t i o n s a s i n t e r v e n t i o n s for c h a n g e :
R F T t u r n s the t y p i c a l t h e r a p i s t ' s u n d e r s t a n d i n g of q u e s t i o n s a n d
interventions upside d o w n . Questions are regarded as powerful
i n t e r v e n t i o n s for c h a n g e , n a m e l y c h a n g e t o w a r d s a different
c o n t e x t u a l i z a t i o n of the therapeutic c o n v e r s a t i o n . W e c a r e f u l l y
d e s i g n q u e s t i o n s a n d p r o v i d e o b s e r v a t i o n a l t i m e to note h o w
c l i e n t s r e s p o n d to t h e m .
17. T a s k s a n d interventions as stabilizers:
T a s k s , d i r e c t i v e s , a n d b e h a v i o u r a l a s s i g n m e n t s , o n the other
h a n d , a r e s e e n a s w a y s of p r e s c r i b i n g action that k e e p the c l i e n t s
i n the n e w l y c o n s t r u c t e d t h e r a p e u t i c r e a l i t y . I n t e r v e n t i o n s d o
n o t a i m to c h a n g e ; they a r e m a d e to s t a b i l i z e the c o n t e x t u a l
changes initiated by questions.
18. T h e r a p y a s theater: P l a y i s the thing:
T h e emphasis on communicative performance, imagination, a n d
i m p r o v i s a t i o n e n c o u r a g e s a s p i r i t of p l a y . T h e " s m e l l of p l a y " is
o n e of the best i n d i c a t o r s that one i s i n a r e s o u r c e f u l context.
THEORETICAL AND PROCEDURAL MAPS 17
W h e r e there i s life, p l a y f u l n e s s a b o u n d s , the a b s u r d i s l e g i t i

m i z e d , a n d the e x p e r i m e n t a l i s w e l c o m e d .
B. Clinical procedures
1. A c t I: T h e s e t - u p :
R e s o u r c e - f o c u s e d t h e r a p y r e g a r d s a s e s s i o n a s the c r e a t i o n of a
t h e a t r i c a l p l a y . I n this p l a y of the t h e r a p e u t i c , t h r e e different a c t s
take p l a c e . A c t I , the s e t - u p , is the o c c a s i o n for h e a r i n g the
p r e s e n t i n g l i n e s of the c l i e n t s . T h e t h e r a p i s t m a y e v o k e t h e s e
l i n e s i n a n y f a s h i o n . W h a t i s m o s t i m p o r t a n t i s that the t h e r a p i s t
o r t e a m of o b s e r v e r s identify a n y l i n e s that m a y p r o v i d e a h i n t o r
d i r e c t i o n t o w a r d s a m o r e r e s o u r c e f u l c o n t e x t u a l i z a t i o n of the
c l i e n t s ' talk.
Act I s i m p l y creates the b u i l d i n g b l o c k s , the s e t t i n g of t h e
s t a g e , the p r o p s , a n d the c h a r a c t e r s that w i l l m a k e u p the
p l a y . T h e s u b s e q u e n t acts m o v e the c o n v e r s a t i o n t o w a r d s a
m o r e r e s o u r c e f u l context.
2. A c t I I : C r e a t i n g the r e s o u r c e f u l context:
A s s o o n a s t h e t h e r a p i s t o r t h e r a p y t e a m b e g i n s to h a v e a h u n c h
a b o u t h o w the c o n v e r s a t i o n m a y be m o v e d f o r w a r d , a q u e s t i o n
w i l l b e d e s i g n e d a n d d e l i v e r e d to the c l i e n t s . T y p i c a l l y i n a t e a m
s i t u a t i o n , a d i s c u s s i o n a n d c o n s t r u c t i o n of this q u e s t i o n t a k e s
p l a c e b e h i n d the o b s e r v i n g m i r r o r . O f t e n s e v e r a l l i n e s g i v e n b y
the c l i e n t s i n the s e t - u p a r e tied together i n a w a y that creates a
m o r e g e n e r a l t h e m e c o n c e r n i n g h o w they a r e l i n k e d . T h i s l i n k
age a n d the p r o p o s e d t h e m e ( w h i c h m a y be f r o m a n o t h e r c l i e n t
l i n e ) i s the b a s i s for the q u e s t i o n .
T h e resourceful theme, idea, explanation, suggestion, or
h u n c h i s t h e n d r o p p e d o n the c l i e n t s w i t h i n s t r u c t i o n s for t h e m
to t h i n k a n d talk a b o u t it for a few m i n u t e s . T h e t h e r a p i s t m a y
t h e n l e a v e a n d w a t c h their r e s p o n s e f r o m the o b s e r v i n g r o o m . I f
the i d e a i s a c c e p t e d , the t h e r a p y m o v e s f o r w a r d . If it i s rejected
o r p a r t i a l l y r e j e c t e d , t h e n the p r o c e s s i s r e p e a t e d a n d a d i s c u s
s i o n of t h e i d e a i s l i s t e n e d to a s if it w e r e a n o t h e r A c t I .
T h i s a p p r o a c h d o e s n o t create h y p o t h e s e s — t h a t i s , p o s s i b l e
u n d e r s t a n d i n g s of a s i t u a t i o n . W e p r e f e r to create w h a t G e r a l d
R a d e m e y e r ( p e r s o n a l c o m m u n i c a t i o n 1992) c a l l s a " d i a t h e s i s " ,
d e f i n e d a s a d i s p o s i t i o n for o r g a n i z i n g t h i n g s i n a c e r t a i n w a y .
Q u e s t i o n s a r e a w a y o f setting forth these d i a t h e s e s o r d i s p o s i
tions towards a more resourceful theme.
3. A c t I I I : E n a c t i n g the r e s o u r c e f u l context:
W h e r e a s Act II sets the stage for c h a n g e b y i n t r o d u c i n g the n a m e
of a t h e r a p e u t i c t h e m e o r context, Act III a i m s a t s t a b i l i z i n g t h i s
c h a n g e t h r o u g h p r e s c r i b i n g a c t i o n that o n l y m a k e s s e n s e w h e n
d o n e i n the r e d e f i n e d s i t u a t i o n . A s the a s s i g n m e n t i s d i s c u s s e d ,
the c l i e n t s l i n e s a r e carefully w o v e n into j u s t i f y i n g , l e g i t i m i z i n g ,
and fine-tuning the n e w u n d e r s t a n d i n g ( s ) b r o u g h t a b o u t b y the
c h a n g e i n context o f c o n v e r s a t i o n .
A l l s u b s e q u e n t s e s s i o n s b e g i n w i t h this s a m e f o r m a t — e l i c i t i n g
l i n e s , u s u a l l y f r o m a f o l l o w - u p to the p r e v i o u s a s s i g n m e n t , further
c o n s t r u c t i o n o f the r e s o u r c e f u l context, a n d a d d i t i o n a l e n a c t m e n t s
i n the n e w reality.
* **
I n s u m m a r y , Act I i s w h e r e the c l i e n t s b r i n g t h e o p e n i n g l i n e s ,
t y p i c a l l y u n d e r s t o o d a s d e r i v e d f r o m a n i m p o v e r i s h e d , often p a i n
f u l , context. Act II i s the c r e a t i o n o f n e w t h e m e s a n d understandings
that a r e r e s o u r c e f u l to b o t h c l i e n t s a n d t h e r a p i s t s . A n d , f i n a l l y , Act
III i s t h e p r e s c r i p t i o n o f action b a s e d o n that r e s o u r c e f u l u n d e r
s t a n d i n g . A c t I I a n d A c t I I I e m b o d y the t w o s i d e s o f t h e r a p e u t i c
change—change i n understanding a n d change i n action, all based
o n the offerings g i v e n b y the c l i e n t i n A c t I.
In the case studies presented i n chapters three to s i x , t h e
s t r u c t u r e o f the c a s e i n t e r m s o f the c u r r e n t A c t w i l l b e i d e n t i f i e d .
R F T r e q u i r e s the a b a n d o n m e n t of b u i l d i n g t h e r a p e u t i c t o w e r s of
babel a n d practising o n e - u p m a n s h i p g a m e s of political expertise
o v e r the client. I t i s a n i n v i t a t i o n for the t h e r a p i s t to l e a r n to b e m o r e
imaginative, more playful, more resourceful, a n d more h u m a n . A s
the t h e r a p i s t ' s h u m a n i t y e v o l v e s , the a p p e a r a n c e o f t h e r a p y w i l l
d i m i n i s h . W h a t i s left i s a r e b i r t h o f o c c a s i o n s free f r o m t h e
straightjacket of prescribed templates, simplistic m o r a l i s m s , a n d
p o w e r g a m e s . H e r e the therapist a b a n d o n s b e i n g a t h e r a p i s t i n
o r d e r to b e m o r e t h e r a p e u t i c . T h e a b s e n c e o f the t h e r a p e u t i c a n d
the p r e s e n c e of r e s o u r c e f u l c r e a t i o n i s the g o a l of R F T . I n its m o s t

c o m p l e t e f o r m , R F T a b a n d o n s its o w n i d e a l s a b o u t b e i n g a s c h o o l
or o r i e n t a t i o n of t h e r a p y a n d i n s t e a d m o v e s into the t e r r i t o r y of
h u m a n b e i n g s j o i n e d together i n the h e a l i n g d a n c e of l i v i n g r e
s o u r c e f u l l y w i t h o n e a n o t h e r — o n e of the g r e a t m y s t e r i e s w h i c h c a n
never be fully s p o k e n or k n o w n .
CHAPTER THREE
Worrying about the coach
A
h u s b a n d a n d w i f e , b o t h p o l i c e officers, w e r e r e f e r r e d for
t h e r a p y b y a l o c a l therapist. T h e c o u p l e p r e s e n t e d a v a r i e t y
of p r o b l e m s i n c l u d i n g c o m p l a i n t s that they c o u l d not
control their eight-year-old daughter, w h o h a d been diagnosed by
a p s y c h i a t r i s t at a p s y c h i a t r i c i n s t i t u t i o n as a " c h i l d h o o d s c h i z o
p h r e n i c " . T h e y a l s o r e p o r t e d m a r i t a l difficulties a n d the wife's
d e p r e s s i o n , for w h i c h a p s y c h i a t r i s t p r e s c r i b e d P r o z a c .
In t e r m s of f a m i l y h i s t o r y , the m a t e r n a l g r a n d m o t h e r had
a s s e r t e d that n o t h i n g i s w r o n g w i t h the g r a n d d a u g h t e r . I n m o t h e r ' s
f a m i l y , h e r b r o t h e r h a d b e e n d e s c r i b e d a s the " p e r f e c t o n e " . S h e
often felt left o u t a n d n e v e r a s i n c l u d e d a s h e r b r o t h e r i n h e r f a m i l y
of o r i g i n . H e r father, a football c o a c h , o n c e h a d a perfect s e a s o n a n d
her mother a n d brother presented h i m w i t h a plaque saying, " T o
the B e s t C o a c h i n the W o r l d F r o m Y o u r C a r i n g W i f e a n d S o n . " S h e
w a s n o t a p a r t of this f a m i l y e p i s o d e . I t w a s d i s c o v e r e d that a t
p r e s e n t h e r father w a s h a v i n g a l o s i n g football s e a s o n .
I n the f o l l o w i n g s e s s i o n , the t h e r a p i s t starts o u t b y a s k i n g the
c o u p l e to r e v i e w w h a t b r o u g h t t h e m into t h e r a p y , for t h e benefit of
the c o n s u l t i n g t e a m . T h i s sets u p A c t I, i n w h i c h the c l i e n t s p u t forth
the p r e s e n t i n g l i n e s .
21
T h r o u g h o u t the first c a s e the f o l l o w i n g a b b r e v i a t i o n s w i l l b e

used:
TH = Therapist, CN = Consultant
W = W a n d a , wife H = H a l , husband
C = Connie, daughter
ACT I: THE SET-UP
TH: W e l l , for the benefit of the t e a m w o u l d y o u g i v e a q u i c k

r e v i e w of w h a t b r o u g h t y o u into t h e r a p y to b e g i n w i t h ? J u s t a
synopsis.
W : G o s h , it's been so long n o w .
H : Well, mainly w e came because w e w e r e — o u r marriage w a s i n

s o m e stress. A n d u h , s h e w a n t e d u s to s e e k s o m e k i n d of
c o u n s e l i n g a n d I a g r e e d to it b e c a u s e , y o u k n o w , I felt l i k e . . .
a n d u h , so, I a g r e e d to it at the t i m e , b u t I told h e r , f i n a n c i a l l y ,
w e c o u l d n ' t , w e d i d n ' t k n o w if w e c o u l d afford it, b u t I d o n ' t
k n o w h o w she came across . . .
W : A l i c e , o u t at the h o s p i t a l .
H : O h , yeah, A l i c e told u s . . .
W: S h e t o l d u s that w e c o u l d . . .
TH: Y o u r d a u g h t e r w a s o u t at a p s y c h i a t r i c h o s p i t a l o n e t i m e ?
W : Right.
H : Yeah.
W : A l l of this w a s k i n d of b r o u g h t to a h e a d w h i l e C o n n i e w a s
o u t i n the h o s p i t a l , a n d the stress of that j u s t k i n d of b r o u g h t
e v e r y t h i n g to a h e a d , d e a l i n g w i t h that, y o u k n o w , it j u s t k i n d
of b r o u g h t e v e r y t h i n g else o u t m o r e .
T H : O k a y , o k a y . S o it w a s t w o things, y o u g u y s w e r e having
t r o u b l e w i t h the m a r r i a g e a n d y o u r d a u g h t e r w a s having
trouble.
W: A n d I r e a l l y w a s n ' t d e a l i n g w i t h that v e r y w e l l either.
TH: I see.
W: You know?
TH: N o w . . . i f s b e e n 2 A w e e k s s i n c e w e m e t the l a s t t i m e ?
X
WORRYING ABOUT THE COACH 23
H : N o , a b o u t a w e e k a n d a half.
T H : W e e k a n d a half. I still c a n ' t k e e p u p w i t h the t i m e . W e l l , s i n c e
then . . . h o w have things been going?
W : W e ' v e b e e n g e t t i n g a l o n g o k a y , a s far a s that goes. A s far a s o u r

life i n g e n e r a l , w e ' r e s o b r o k e that w e ' r e b o r e d o u t of o u r
m i n d s , t h a f s k i n d of getting to u s . W e c a n ' t go o u t a n d d o
a n y t h i n g a n d so w e ' r e h o m e b o u n d , pretty m u c h . N o w , I h a v e
n o t i c e d , a n d I w a s t e l l i n g h i m a b o u t t h i s last n i g h t a n d I d o n ' t
k n o w if i t ' s j u s t h o r m o n a l — b e c a u s e i t ' s a b o u t that t i m e — b u t ,
e v e n t a k i n g t h i s P r o z a c that I ' v e b e e n o n for the p a s t three
w e e k s , I h a v e felt t w i n g e s of d e p r e s s i o n the last few d a y s . I
m e a n , I c o u l d j u s t feel that it w a s there a n d I j u s t k n o w that i f
I w a s n ' t o n this m e d i c a t i o n , I w o u l d j u s t b e b a d off r i g h t n o w .
I m e a n , it h a s n ' t b e e n , I ' v e j u s t b a r e l y felt k i n d of the c o n f u s i o n ,
t h e . . . I d o n ' t k n o w , I c o u l d j u s t tell it w a s there. I t h a s n ' t b e e n
a n y t h i n g that affected u s , b u t I j u s t c o u l d feel i t O t h e r t h a n t h a t
w e ' v e b e e n c o m m u n i c a t i n g a n d g e t t i n g a l o n g pretty g o o d .
T H : Y o u got o n t o P r o z a c a b o u t three w e e k s a g o ?
W : Y e a h , it w a s getting w h e r e this d e p r e s s i o n w a s n o t o n l y affect

i n g m e at h o m e , b u t it w a s c a u s i n g m e s o m e p r o b l e m s at w o r k
a n d t h a f s w h e r e I r e a l l y p u t m y foot d o w n a n d s a i d I ' v e got
to d o s o m e t h i n g . I f s b a d e n o u g h at h o m e , b u t w h e n it a l s o
b l e e d s o v e r i n t o w o r k , I c o u l d n ' t d o that.
T H : T h e d e p r e s s i o n , w h a t ' s h a p p e n i n g t h a t . . .
W : I ' v e b e e n g o i n g t h r o u g h t h i s for m o n t h s a n d m o n t h s a n d
months.
TH: I n r e l a t i o n to w h a t , d o y o u t h i n k ?
W : I r e a l l y d o n ' t k n o w w h a t b e c a u s e I w a s t h i n k i n g a b o u t it o n e
t i m e a n d I r e m e m b e r a y e a r ago, o v e r a y e a r ago, b e c a u s e I
h a d m y s u r g e r y , it w a s a y e a r o n S e p t e m b e r 28, a n d I r e m e m
b e r k i n d of h a v i n g , n o t n e c e s s a r i l y the d e e p d e p r e s s i o n , b u t
h a v i n g a lot of the s a m e c o n f u s e d feelings a n d . . . I ' v e a l w a y s
h a d a terrible w e i g h t p r o b l e m a n d I w e n t u p to L i t t l e R o c k l a s t
y e a r . I w a s 110 p o u n d s o v e r w e i g h t , at this t i m e , a n d h a d " t h e "
s u r g e r y , a n d it c o r r e c t e d that p r o b l e m .
T H : O h , I see. I u n d e r s t a n d .
W: F i n a l l y , after y e a r s of a g o n y , b u t y e a h , y e a h . G e t b a c k o n t r a c k
here.
TH: U h , y o u k n o w , w e w e r e t h i n k i n g , the t e a m , w e l o o k e d at the

f i l m . T h e . . . a n d w e . . . a n d I w a s n ' t a w a r e , a c t u a l l y that y o u
w e r e having depression problems.
W: O h , yeah.
Comment: A c t I, the s e t - u p w i t h the c l i e n t s ' p r e s e n t i n g l i n e s h a s b e e n

r e v i e w e d . T h e y are as follows:
• Marital stress
• Daughter has been in psychiatric hospital
• C o u p l e is financially broke
• Bored and homebound
• W i f e i s t a k i n g P r o z a c for d e p r e s s i o n
• Wife confused
• P r o b l e m s at w o r k
• H i s t o r y of w e i g h t p r o b l e m
N o t i c e that the l i n e s m e r e l y h a v e b e e n p r e s e n t e d a n d t h e r a p y h a s
a v o i d e d a c c e p t i n g a n d a m p l i f y i n g any of these i m p o v e r i s h i n g l i n e s
a s a m a j o r t h e m e . A t this m o m e n t the therapist w i l l b e g i n l o o k i n g
for a w a y to i n t r o d u c e a r e s o u r c e f u l l i n e a s a m e a n s of e n t e r i n g
Act II.
ACT II: CREATING THE RESOURCEFUL CONTEXT
TH: . . . u n t i l n o w . B u t that just k i n d of m a k e s s e n s e i n s o m e w a y s ,

because w h e n y o u t h i n k a b o u t it, w i t h e v e r y t h i n g we've
t a l k e d a b o u t s o far, w i t h the p u l l b e t w e e n y o u a n d m o m , t h e n
the t r o u b l e s y o u ' v e b e e n h a v i n g w i t h y o u r d a u g h t e r , a n d i n a l l
of that, y o u c a n i m a g i n e h e r b e h a v i o u r a n d so forth, a n d t h e
d i s t r e s s that the t w o of y o u h a v e h a d i n y o u r m a r r i a g e , j u s t i n
the last y e a r , u h , it u h . . . that the d e p r e s s i o n k i n d of m a k e s
sense.
I n the t e a m , w e got to t a l k i n g a b o u t the i d e a that t h e r e ' s o n e

other p e r s o n i n y o u r f a m i l y that w e ' r e s o m e w h a t c o n c e r n e d
a b o u t , o t h e r t h a n y o u a n d y o u r d a u g h t e r , a n d u h . . . a n d that
i s y o u r D a d . W e got to t a l k i n g a b o u t y o u r D a d . Y o u k n o w , w e
got to t a l k i n g a b o u t the fact that h e ' s b e e n h a v i n g s o m e r e a l
h a r d y e a r s at s c h o o l , h i s t e a m s ' h a v e b e e n h a v i n g b a d y e a r s i n
football.
Comment: T h e t h e r a p i s t b e g i n s b y s t a t i n g t h e c l i e n t s ' p r e s e n t i n g
lines—troubles w i t h daughter, marital distress, depression, troubles
w i t h p a r e n t s . H e t h e n c o l l a p s e s these l i n e s a s b e l o n g i n g to the m o r e
major theme of " f a m i l y c o n c e r n " . U s i n g this theme as a transforma
t i o n a l h i n g e , the t h e r a p i s t shifts attention f r o m the i m p o v e r i s h e d
p r e s e n t i n g l i n e s t o w a r d s c o n c e r n for W a n d a ' s father. T h i s i s d o n e to
set u p a p o s s i b i l i t y o f e n c o u r a g i n g t h e f a m i l y to m o v e towards
b e c o m i n g r e s o u r c e f u l to this father. I n this w a y a s e e d i s p l a n t e d for
the c r e a t i o n of a r e s o u r c e f u l context. T h e t h e r a p y t e a m , of c o u r s e , h a s
n o w a y of k n o w i n g a t this p o i n t w h e t h e r t h i s s e e d w i l l take root.
W : It h a s b e e n r o u g h o n h i m the last f e w y e a r s .
Comment: T h e s e e d for d e v e l o p i n g the r e s o u r c e f u l c o n t e x t i s b e g i n

n i n g to g e r m i n a t e .
TH: W h a t part of y o u r depression is worry about y o u r Dad?

B e c a u s e , y o u k n o w , the k i n d o f w o r k h e ' s i n i s o n e o f t h e
hardest...
Comment: T h e t h e r a p i s t i s u s i n g a n i m p o v e r i s h e d l i n e f r o m A c t I —
that i s , r e f e r e n c e to d e p r e s s i o n — a s a w a y to c o n t i n u e r e i n f o r c i n g
t h e r e s o u r c e f u l t h e m e o f c o n c e r n for D a d .
W: I w o r r y about h i m , I really do.
TH: W e l l , c o a c h i n g i s o n e o f the m o s t stressful j o b s k n o w n .

W : W e l l , b e c a u s e r i g h t n o w , h e j u s t t u r n e d 60 this y e a r , a n d t h e r e ' s
n o h o p e of retirement i n sight because of finances, a n d c o n
s i d e r i n g h o w b a d i f s b e e n the last f e w y e a r s , a n d h e ' s — p h y s
i c a l l y , h e ' s j u s t n o t i n a s g o o d a s h a p e a s h e u s e d to b e . I m e a n ,
he's never been physically good, like going out a n d jogging

k i n d of s h a p e , s i n c e h e got out of p l a y i n g college football. H e ' s
o v e r w e i g h t , h e ' s a s m o k e r , d r i n k s coffee, I m e a n , h e ' s got a l l
the b a d h a b i t s , a n d e v e r y t i m e I g o to a b a l l g a m e , I sit t h e r e
a n d v i s u a l i z e h i m d r o p p i n g o n the s i d e l i n e s w i t h a h e a r t attack
a n d I ' m . . . Y o u k n o w w h a t I v i s u a l i z e ? G o i n g d o w n t h e r e to
d o C P R o n h i m . E v e r y t i m e I g o to a g a m e , t h a f s e x a c t l y w h a t
g o e s t h r o u g h m y m i n d . B e c a u s e I feel i t ' s g o i n g to h a p p e n o n e
day. I really do.
Comment: T h e c o u p l e h a s a c c e p t e d the n e w t h e m e o f c o n c e r n o v e r
h e r D a d . T h e y a r e n o l o n g e r t a l k i n g a b o u t their o w n p r o b l e m s b u t
h a v e c h a n g e d their focus to d i s c u s s D a d ' s s i t u a t i o n . T h e t h e r a p y
w i l l n o w step b a c k a n d a l l o w t h e m to c o n t i n u e s e t t i n g forth l i n e s
that k e e p t h e m i n A c t I I , the m i d d l e a c t o f e m p h a s i z i n g c o n c e r n
over her D a d .
TH: W e l l , t h i s l e a d s to a n o t h e r q u e s t i o n . I t ' s k i n d of a n a t u r a l t h i n g
to a s k w h e n w e w e r e t a l k i n g a b o u t y o u r father, i f y o u w e r e n ' t
worried about h i m , I ' d worry. I assume y o u r mother worries
about h i m ?
W: Y e a h , I think she does, yeah.
TH: I f s o m e h o w , j u s t . . . I c a n i m a g i n e this a n d I t h i n k i t ' s g o i n g

to h a p p e n p r e t t y s o o n , if y o u r d a u g h t e r ' s b e h a v i o u r w a s n o
l o n g e r a p r o b l e m a n d m a g i c a l l y s h e w a s n o l o n g e r a n i s s u e to
b r i n g y o u i n to talk w i t h u s , w h a t . . .
Comment: T h e t e a m t e l e p h o n e a n d s u g g e s t that the t h e r a p i s t k e e p s

the f o c u s o n D a d .
TH: W o u l d there b e a n y p r o b l e m to b r i n g y o u b a c k to t a l k to u s ?
W: O h yeah.
TH: T e l l m e a b o u t it.
W: Well, m e personally, I've always needed a n d wanted

c o u n s e l i n g . I ' v e h a d a little bit h e r e a n d there, a n d I ' v e a l w a y s
know that...
Comment: T h e c o n s u l t a n t w o r k i n g b e h i n d t h e m i r r o r e n t e r s t h e
therapy room.
C N : H i , I ' m B r a d K e e n e y .
W: I'm Wanda.
CN: H i , n i c e to m e e t y o u . W e j u s t t h i n k b a c k t h e r e that t h i s i n d e e d
i s the m o s t s i g n i f i c a n t t h i n g h a p p e n i n g i n the f a m i l y . O u r c o n
c e r n h a s b e e n f o c u s e d o n y o u r D a d a n d t h e p a r t i c u l a r life
s i t u a t i o n t h a t h e ' s i n i s u h . . . the k i n d o f s t r e s s t h a t b e i n g a
football c o a c h b r i n g s . A n d h a v i n g b e e n a s u c c e s s f u l c o a c h a n d
n o w to face n o t a s e a s o n , b u t s e v e r a l s e a s o n s o f f a i l u r e a n d
b e i n g i n the h e a l t h that h e ' s i n , I m e a n c o a c h e s d o n ' t h a v e the
l o n g e s t l i f e s p a n s for p e o p l e .
Comment: T h e c o n s u l t a n t ' s r e m a r k s a r e m a d e s o l e l y to e m p h a s i z e a
f o c u s o n the t h e m e o f " c o n c e r n for D a d " .
W : K i n d o f l i k e p o l i c e officers.
C N : P r e c i s e l y . Y e a h , s o w e , u h . . . I t h i n k w e n e e d to talk a b o u t t h i s
as a g r o u p a n d y o u can perhaps just think about t h a t . . .
W : S o u n d s g o o d . T h i s i s f a s c i n a t i n g . Y e a h , t h i s i s f a s c i n a t i n g to
m e though just h o w everything is . . .
TH: Connected?
W : Y e a h , exactly.
Comment: A t t h i s t i m e , the t h e r a p i s t a n d c o n s u l t a n t l e a v e the r o o m .

T h e c o u p l e w i l l b e o b s e r v e d to see i f they s t a y i n A c t I I , t h e n e w
t h e m e o f f o c u s i n g o n D a d . T h e c o u p l e w i l l b e a l l o w e d to talk, a s
l o n g a s it i s o n t h i s t h e m e . T h e m o r e they talk a b o u t W a n d a ' s D a d ,
t h e m o r e t h e y a r e r o o t e d i n A c t I I ( a n d u p r o o t e d f r o m the p r e s e n t
i n g s c e n e ) . N o t i c e that their d i s c u s s i o n w h i l e the t h e r a p i s t i s a w a y
c o n t i n u e s to m a i n t a i n t h e i r p r e s e n c e i n the n e w t h e m e :
H : W e l l , I ' m g o i n g to tell y o u w h a t I t h i n k a b o u t football c o a c h e s

i n g e n e r a l . I k n o w h o w I u s e d to feel w h e n I p l a y e d football
a n d , y o u k n o w , y o u get p s y c h e d u p for a g a m e a n d e s p e c i a l l y
if i t ' s a c l o s e g a m e w h e r e y o u ' r e e i t h e r d o w n a t o u c h d o w n o r
d o w n a f e w p o i n t s a n d the t e a m s a r e to t h e p o i n t w h e r e y o u
c a n g o o n e w a y o r the other, y o u k n o w , y o u c a n s c o r e a n d
b r e a k it o p e n a n d w i n , e s p e c i a l l y w h e n y o u g e t d o w n to t h e
final. . . . I r e m e m b e r o n e g a m e w e g o t d o w n to the final
m i n u t e a n d a half, a n d w e w e r e d o w n b y three, w e w e r e t h r e e
p o i n t s d o w n — a field g o a l d o w n a n d w e g o t the b a l l b a c k a n d
m o v e d it r i g h t d o w n the field a n d g o t to the ten a n d I felt l i k e
that, r i g h t t h e n , i f s o m e b o d y w o u l d have touched m e the
w r o n g w a y or something, I w o u l d have b l o w n up. I m e a n not
m a d , b u t j u s t e x p l o d e d . I w a s j u s t s o tense, y o u k n o w , a n d
e v e r y t h i n g ' s got to b e right. E v e r y b o d y ' s g o t to b e t h i n k i n g
the s a m e t h i n g . T h a t their j o b ' s g o t to b e d o n e j u s t r i g h t . A n d
j u s t t h i n k , n o w I w e n t t h r o u g h that o n c e . B u t j u s t t h i n k ,
c o a c h e s g o t h r o u g h that y e a r after y e a r . . .
W: H e ' s b e e n d o i n g t h i s for 35 y e a r s .
H: . . . e s p e c i a l l y if they p l a y g a m e s that a r e c l o s e , o r the p o o r

season he's h a v i n g n o w . But h e w o n last night.
W: D i d he?
H: Y e a h , 3 4 - 2 0 . 1 tried to c a l l h i m t o d a y a n d tell h i m c o n g r a t u l a
tions.
W: I ' l l h a v e to c a l l h i m tonight.
H: But I . . .
W: I k n o w h e ' s r e l i e v e d . I k e p t t h i n k i n g , G o s h , h e ' s g o i n g to h a v e
a l o n g e r l o s i n g streak t h a n h e ' s e v e r h a d before.
H: N o , h e w o n , 3 4 - 2 0 . 1 tried to c a l l h i m this m o r n i n g , b u t they

weren't home.
W: S e e , the t h i n g that w a s strange to m e , a l l m y life, after e v e r y

football g a m e , T h u r s d a y n i g h t s , F r i d a y n i g h t s , i n t o w n , o u t o f
t o w n , i t w o u l d n ' t m a t t e r , w e ' d g e t to the h o u s e a n d I c a n
a l w a y s r e m e m b e r this, b e c a u s e l i k e b e i n g i n h i g h s c h o o l ,
g r o w i n g u p , the w h o l e time I ' m i n school, w e ' d g o o u t a n d
a l w a y s h a v e food after the b a l l g a m e b e c a u s e D a d d y ' s g o i n g
to b e u p for h o u r s . A n d h e c o m e s i n a n d h e t a l k s a n d t a l k s a n d
talks. " D i d y o u s e e s o a n d s o d o t h i s ? W e l l , h e s h o u l d h a v e
d o n e t h a t . " S i t t i n g there, y o u ' r e g o i n g , " Y e a h , u h - h u h , y e a h " .

Y o u k n o w , b e c a u s e I u n d e r s t a n d a lot of w h a t w a s g o i n g o n ,
b u t I m e a n , h e ' d go, y o u k n o w , h e ' d t a l k a b o u t the i n t r i c a c i e s
of, y o u k n o w , Joe B l o w #63, s h o u l d h a v e t u r n e d left a n d h e
turned right a n d y o u ' r e going, " Y e a h , o k a y " . But this w o u l d
go o n u n t i l t w o o r three o ' c l o c k i n t h e m o r n i n g . W e w o u l d n ' t
a l l n e c e s s a r i l y stay u p w i t h h i m , b u t I m e a n , y o u k n o w , we
w o u l d . . . p e o p l e w o u l d c o m e o v e r a lot of t i m e s , I m e a n y e a r s
ago, b u t n o w , the o t h e r n i g h t , h e c a m e h o m e , h e doesn't
h a r d l y t a l k a b o u t it a n y m o r e . Y o u k n o w , h e ' l l t a l k a little bit.
I f s b e e n s o b a d , I g u e s s h e j u s t w a n t s to p u t it o u t of h i s m i n d ,
I g u e s s . B u t , w h e n h e c a m e h o m e the other n i g h t a n d h e d i d n ' t
e v e n r e a l l y w a n t to s i t a n d talk a b o u t it a n d I s a i d , " M o t h e r
s a i d s o m e t h i n g a b o u t w a n t i n g to g o to the h o t t u b " that n i g h t ,
a n d I ' m j u s t t h i n k i n g a b o u t h i m i n t e r m s of h o w he u s e d to b e
a l l w o u n d u p for h o u r s , y o u k n o w , a n d I s a i d , " Y o u o u g h t to
go. I t m i g h t h e l p y o u s l e e p b e t t e r " . A n d h e j u s t s h o o k h i s h e a d
a n d s a i d , " I d o n ' t h a v e a n y p r o b l e m g o i n g to s l e e p a n y m o r e
after a b a l l g a m e " . A n d that w a s w e i r d .
H: W e l l , y o u k n o w h o w I felt last n i g h t l i s t e n i n g to a football

g a m e o n the r a d i o .
W: Yeah, I know.
H: See, I still get that tense feeling. O f c o u r s e , I d i d n ' t get tense
after the first three m i n u t e s , I got d i s g u s t e d .
W: I g u e s s if I h a d n ' t left a n d I h a d b e e n a r o u n d h e r e a l l t h i s t i m e
a n d I h a d b e e n e i t h e r f o l l o w i n g D a d c l o s e , or f o l l o w i n g the
o t h e r l o c a l h i g h s c h o o l t e a m s a l l the t i m e , y o u k n o w , w h e r e I
really stayed u p on everything a n d kept u p with w h o was
p l a y i n g a n d stuff, a n d w h a t they w e r e d o i n g , I m i g h t still
r e a l l y get i n t o it, b u t I d o n ' t get into i t a s m u c h a n y m o r e .
Comment: O n c e a s e e d h a s b e e n p l a n t e d it is i m p o r t a n t to a l l o w it
to t a k e root. T h i s i s a c r i t i c a l m o m e n t . T o o s h o r t a d i s c u s s i o n m a y
a l l o w the c l i e n t to drift b a c k i n t o d i s c u s s i o n of p r o b l e m s . T o o l o n g ,
a n d t h e y m i g h t b a n k r u p t it b y drifting. T h e c o u p l e is f i r m l y set
i n A c t I I a n d the t h e r a p y w i l l n o w m o v e to A c t I I I . T h e t h e r a p i s t
r e e n t e r s the r o o m . A t a s k w i l l b e a s s i g n e d for f a m i l y a c t i o n that
o n l y m a k e s s e n s e w h e n v i e w e d w i t h i n the n e w u n d e r s t a n d i n g set
forth i n A c t I I . T h e t e a m h a s d e s i g n e d a n i n t e r v e n t i o n b a s e d u p o n
c l i e n t l i n e s that a r e a i m e d at b r i n g i n g forth the f a m i l y ' s r e s o u r c e f u l
n e s s i n the t h e m e of a d d r e s s i n g c o n c e r n for D a d .
ACT III: PRESCRIPTION FOR ENACTING
THE RESOURCEFUL CONTEXT
W: I c a n ' t b e l i e v e that w e ' r e getting a l l this a t t e n t i o n .

TH: W e a r e r e a l l y i m p r e s s e d b y the s e r i o u s n e s s of the s i t u a t i o n .
G i v e n e v e r y t h i n g that is i n v o l v e d — y o u r d a u g h t e r ' s d i f f i c u l
ties, h o w that i s i n v o l v e d w i t h e v e r y t h i n g g o i n g o n w i t h y o u
and your M o m , a n d her a n d her M o m and y o u r uncle H e n r y
. . . w i t h a l l of these c o m p l i c a t e d a s p e c t s of y o u r s i t u a t i o n — i t
s t r i k e s u s that o n e of the m o s t p r e s s i n g t h i n g s i s y o u r d a d . Y o u
k n o w h o w stressful h i s job of b e i n g c o a c h i s , a n d t h e n there i s
the stress of the r e l a t i o n s h i p b e t w e e n h i m a n d u n c l e H e n r y —
h o w h e h a s b e e n p u t i n a n u n t e n a b l e s i t u a t i o n there. T h a t h e ' s
60 y e a r s o l d , s m o k e s a n d d r i n k s coffee a l l the t i m e . Y o u r fear
for h i s h e a l t h , w h i c h i s p r o b a b l y v e r y l e g i t i m a t e . B a s e d o n
this, w e t h i n k that before a n y t h i n g e l s e there i s s o m e t h i n g w e
w o u l d l i k e y o u to d o , n o t o n l y for y o u a n d y o u r d a u g h t e r , b u t
for y o u r w h o l e f a m i l y . W a n d a , w e w a n t y o u to b e i n c h a r g e of
t h i s b e c a u s e y o u ' r e the k e y p e r s o n . W e w a n t y o u to g o o u t a n d
a b u y a football a n d . . .
Comment: The therapist w a l k s the family through the whole

p r e v i o u s c o u r s e of t h e r a p y , s t a r t i n g w i t h a n i n t r o d u c t i o n of the
p r e s e n t i n g l i n e s a n d p r o c e e d i n g t h r o u g h the shift to c o n c e r n w i t h
g r a n d f a t h e r . A n i n t e r v e n t i o n i n v o l v i n g the t h e m e of football i s t h e n
i n t r o d u c e d a s s o m e t h i n g that c o u l d be h e l p f u l for the w h o l e f a m i l y .
A s w i l l b e s e e n , the m e t a p h o r of football e n a b l e s the g r a n d f a t h e r , the
football c o a c h , to b e m o r e c l e a r l y c o n n e c t e d to t h e o t h e r m e m b e r s of
the f a m i l y t e a m . T h e f a m i l y , p a r t i c u l a r l y the w i f e , n o d d e d their
h e a d s i n a g r e e m e n t a n d affirmation a s the a s s i g n m e n t w a s g i v e n .
W: Okay
TH: . . . after b u y i n g a football I w a n t y o u to . . . d o y o u h a v e a

movie camera? A home video camera? O r could you borrow

one?
W: W e c a n find one, I ' m sure.
TH: B o r r o w a v i d e o c a m e r a , a n d t h e n , w i t h o u t y o u r father k n o w
i n g a b o u t it, i n v o l v e y o u r m o t h e r . Y o u s h o u l d p r o b a b l y e x
c l u d e y o u r b r o t h e r . W e w a n t y o u to find a p a r k s o m e w h e r e
a n d h a v e a f a m i l y football g a m e , y o u r father i s n o t to k n o w
a b o u t it. I n v o l v e y o u r m o t h e r . Y o u ' l l n e e d to d e c i d e who's
g o i n g to b e the c o a c h . D o n ' t i n v o l v e h e r i n b u y i n g the b a l l .
Y o u three g o a n d b u y the b a l l a n d t h e n y o u orchestrate p l a y
i n g t h e f a m i l y football g a m e i n secret w i t h o u t y o u r father
k n o w i n g a b o u t it. D e c i d e w h o ' s g o i n g to p l a y w h i c h p o s i t i o n ,
w h o i s g o i n g to b e the star r u n n e r , a n d s o forth. W o r k together
to d e v e l o p a n u m b e r of p l a y s that y o u c a n r u n . F i l m a l l o f t h i s
w i t h the c a m e r a . Y o u are p r o b a b l y g o i n g to n e e d a t r i p o d o r a
f r i e n d to o p e r a t e the c a m e r a . A n d w e w a n t y o u to c o m e u p
w i t h a n i m a g i n a r y o p p o n e n t . Y o u r d a u g h t e r i s g o i n g to be the
s t a r r u n n e r , r i g h t ? V i d e o t a p e the g a m e , a n d t h e n , after it i s a l l
o v e r , w e w a n t y o u to s i g n the w i n n i n g t e a m b a l l , b e c a u s e
y o u ' r e o b v i o u s l y g o i n g to w i n the g a m e , r i g h t ? A f t e r a l l of y o u
s i g n the b a l l , take it a n d the v i d e o t a p e to y o u r D a d a s a gift.
Comment: T h e football task c l e a r l y p r e s c r i b e s m a n y k i n d s of p o t e n

t i a l l y r e s o u r c e f u l i n t e r a c t i o n s . F o o t b a l l b e c o m e s the context w i t h i n
w h i c h the f a m i l y m a y e x p e r i e n c e o n e a n o t h e r i n r e s o u r c e f u l w a y s .
W: T h a t s o u n d s neat!
H: Y e s it d o e s .
TH: I ' m g o i n g to go b a c k a n d talk to the t e a m for a m o m e n t , b u t w e
t h i n k that d o i n g s o m e t h i n g for y o u r d a d i s r e a l l y i m p o r t a n t
right now.
Comment: A t t h i s p o i n t , t h e t h e r a p i s t l e a v e s t h e t h e r a p y room
to c o n s u l t w i t h the t e a m . N o t e i n the f o l l o w i n g h o w the c o u p l e ' s
c o n v e r s a t i o n , i n the a b s e n c e o f the t h e r a p i s t , i s a l r e a d y e n a c t i n g
the r e s o u r c e f u l context. O n their o w n , the i n t e r v e n t i o n i s further
e l a b o r a t e d a n d r e s o u r c e f u l i n t e r a c t i o n s a r e d e s c r i b e d . I n c o n t r a s t to
the r e s t r i c t e d b e h a v i o u r e x h i b i t e d b y the f a m i l y at the b e g i n n i n g of

t h e r a p y , w h e n a l l t h e y f o c u s e d o n w a s the p r o b l e m s they w e r e e x
p e r i e n c i n g , the f a m i l y is n o w u n q u e s t i o n a b l y e x h i b i t i n g c o o p e r a
tion, o p t i m i s m , a n d specific p l a n s for c a r r y i n g o u t the task.
W: I t h i n k h e [her father] w i l l get a real b i g k i c k o u t of that.
H: Y e a h , h e w o u l d . T h a t w o u l d be neat.
W: Y e p , a n d y o u k n o w w h a t w o u l d b e f u n n y is getting m a m m a to
b e the c o a c h b e c a u s e s h e ' s a l w a y s t r y i n g to tell h i m w h a t h e
n e e d s to be d o i n g , s o this t i m e s h e c a n d o it. T h a t w o u l d b e
hilarious. Yep.
H: Y e a h , a n d w e c a n d o it at the p a r k n e a r o u r h o u s e .
W: Y e s w e c o u l d d o it there. W h o d o w e k n o w that h a s a c a m e r a ?
I k n o w C i n d y ' s got o n e . S h e w o u l d p r o b a b l y d o it.
H: Okay.
W: Y e a h . C o n n i e c o u l d b e the star r u n n e r . A n d u h , w e h a v e got to

get a b a l l s m a l l e n o u g h for h e r to h o l d onto.
H: A n d y o u c o u l d b e the q u a r t e r b a c k [the l e a d m e m b e r of t e a m
w h o d e c i d e s w h i c h p l a y s to r u n a n d w h o h a n d l e s the b a l l ] .
W: Y e s I t h i n k I s h o u l d b e the q u a r t e r b a c k .
H: A n d u h , y o u r m a m m a c o u l d b e the c o a c h .
W: M a m m a ' s got to b e the c o a c h .

H: A n d y o u r g r a n d m a c o u l d b e the star r e c e i v e r [the p l a y e r to
w h o m the football is t h r o w n ] .
W: R i g h t . G r a n d m a ' s g o i n g to be i n this. Just o u r i m m e d i a t e f a m
ily. Y e a h , send grandmother out on a long pass play.
H: A s B i l l C o s b y s a y s — G o d o w n to the w a t e r t o w e r a n d t a k e a
left o r r i g h t . L o o k at m e , I s a i d left or r i g h t , a n d it s h o u l d h a v e
b e e n left a n d right.
W: ( L a u g h i n g ) I f y o u s a y so.
H: I d o n ' t k n o w m y left f r o m m y right.

W: W e w i l l p l a n the g a m e for the n e x t t i m e m o t h e r c o m e s i n t o
t o w n . I c a n get C i n d y to d o the f i l m i n g .
H: Y e a h , w e n e e d to b u y a tape.
W: W e c a n d o i t I f 11 w o r k .
H: W e c a n set it u p for n e x t S u n d a y .
W: W e m a y h a v e to d o it i n the m i d d l e of the w e e k b e c a u s e h e
s a y s w e n e e d to d o it s o o n .
H: O h , okay.
W: W e n e e d to d o it a s s o o n a s w e c a n . I w i l l get a h o l d of M a m m a
t o n i g h t a n d see w h e n s h e c a n c o m e d o w n h e r e to d o it, o r i f
s h e c a n ' t c o m e d o w n h e r e w e c o u l d g o u p there. B u t t h e n , it
w o u l d b e r e a l h a r d to get that c a m c o r d e r f r o m d a d d y w i t h o u t
h i m a s k i n g w h y . S o getting h e r to c o m e d o w n h e r e i s g o i n g to
b e the best t h i n g .
H: W e l l ( v e r y l o n g p a u s e ) . . . I c o u l d take s o m e t i m e off o n e d a y .
W: B u t if w e get C i n d y to f i l m it, s h e d o e s n ' t get off u n t i l a b o u t

4:30, s o l e f s j u s t see w h e n w e c a n get M a m m a to c o m e d o w n
a n d see if w e c a n get C i n d y to d o it for u s , a n d t h e n w o r k f r o m
there.
H: A n d w e ' d h a v e to d o it q u i c k t h e n so w e w o u l d n ' t r u n o u t of
daylight.
W: Uh-huh.
H: T h a f s neat.
W: A n d s i g n the g a m e b a l l — I l i k e that. W e ' l l h a v e to f i n d a b a l l . I f

w e got a N e r f football i t ' l l b e h a r d to s i g n .
H: N o , n o t if y o u got o n e of those b l a c k p e n s that I ' v e got, t h o s e

felt-tip l i k e p e n s . . .
W: O h y e a ! O . K . D o y o u t h i n k C o n n i e w o u l d b e a b l e to s i g n h e r
n a m e o n it?
H: Y e s . W e w i l l p r o b a b l y n e e d to g i v e h e r a w h o l e s i d e of t h e
football to d o it b u t . . .
W: W e w i l l let h e r s i g n it first a n d t h e n w o r k a r o u n d it.
H: Y e a h , w e c a n w o r k a r o u n d h e r n a m e . I t h i n k that w o u l d b e
pretty good.
W: D a d i s r e a l l y g o i n g to get a k i c k o u t of this.
H: Y e a h , a n d w e c a n h a v e a r u n n i n g p l a y a n d let C o n n i e s c o r e .
W: O f course!
H : A n d t h e n s p i k e the b a l l !
W : O f c o u r s e . S h e c a n d o h e r little v i c t o r y d a n c e . W e ' l l h a v e to
c o a c h h e r , I m e a n , s h o w h e r a l l t h e m o v e s w e w a n t h e r to
m a k e . O f c o u r s e if y o u tell h e r to t h r o w t h e b a l l d o w n a n d
d a n c e a r o u n d w h e n s h e s c o r e s , s h e ' l l r e a l l y e n j o y that.
Comment: T h e t h e r a p y t e a m l i s t e n e d to t h e p r e c e d i n g f a m i l y c o n
v e r s a t i o n a n d a l l o w e d i t to c o n t i n u e d u e to t h e w a y i t e n a c t e d a
r e s o u r c e f u l context. T h e c o u p l e d i s c u s s e d the task w i t h e n t h u s i a s m
and h u m o u r . A t this p o i n t the t h e r a p i s t r e e n t e r s t h e r o o m a n d
b e g i n s m o v i n g the s e s s i o n to c l o s u r e .
TH: O k a y , I ' m j u s t g o i n g to g o o v e r i t one m o r e t i m e , y o u k n o w ,

b e c a u s e I t h i n k this i s s o i m p o r t a n t for y o u r father. O n e t h i n g
that o n e o f the t e a m m e m b e r s t h o u g h t of i s , g i v e n the k i n d of
r e l a t i o n s h i p that y o u h a v e w i t h y o u r M o m , s h e m a y s a y that
s h e d o e s n ' t w a n t to d o it.
W : S h e m a y n o t s a y it b u t it'll b e , " W e l l , I d o n ' t k n o w . I ' m
t i r e d . . . . " I t ' l l b e a l l these e x c u s e s .
TH: W e l l i f s h e d o e s n o t w a n t to p l a y , s h e c a n c o m e a n d b e a fan.
W : I f I c o u l d get h e r to t h e l o c a t i o n , I t h i n k s h e w o u l d b e t h e
c o a c h — t h a t ' s w h a t s h e w o u l d d o . B e c a u s e s h e a l w a y s gets
D a d d y — t h e last f e w y e a r s t h e y ' v e h a d trouble, s h e h a s b e e n
t r y i n g to tell h i m h o w to c o a c h after h e l o s e s the b a l l g a m e . I
t h i n k h e r b e i n g c o a c h w o u l d b e perfect. W e m a y h a v e to w o r k
a r o u n d to it, b u t I t h i n k w e c a n p r o b a b l y w o r k s o m e t h i n g out.
T H : W e r e a l l y w a n t y o u to g i v e s o m e t h o u g h t to w h a t k i n d of
p l a y s y o u ' r e g o i n g to r u n . A n d for m e , it w o u l d b e k i n d o f n i c e
to see y o u r d a u g h t e r h a v e the w i n n i n g t o u c h d o w n r u n .
W : W e ' v e a l r e a d y d i s c u s s e d that. W e a r e g o i n g to s h o w h e r h o w
to s p i k e the b a l l , a n d h o w to d o the e n d - z o n e d a n c e .
TH: W o w ! Y o u g u y s a r e w a y a h e a d of m e . . .
W : See, t h i s i s right u p m y a l l e y , b e c a u s e w h e n y o u ' v e g r o w n u p

a r o u n d c o a c h i n g a n d football a l l y o u r life, y o u k n o w . . .
T H : O k a y . H o w l o n g d o y o u t h i n k i t ' l l take y o u to get i t a l l
together a n d get the f i l m ?
W : F i r s t I ' m g o i n g to c a l l M o t h e r tonight a n d l i n e u p a d a y for h e r

to c o m e to t o w n . T h e n I ' l l c a l l m y f r i e n d a n d see if s h e w i l l
v i d e o t a p e it for u s , a n d w e ' l l j u s t g o f r o m t h e r e a n d try to get
it d o n e a s s o o n a s p o s s i b l e .
T H : A n d y o u k n o w that g o i n g o u t to b u y the b a l l s h o u l d i n v o l v e
j u s t the t h r e e of y o u , y o u r d a u g h t e r a n d y o u t w o , s e p a r a t e
from M o m .
W: U h - h u h , o h y e a , right.
TH: O k a y , s o after y o u ' v e p l a y e d the g a m e , m a d e the v i d e o t a p e ,

a n d a l l f o u r of y o u h a v e s i g n e d the b a l l , w e ' d l i k e the f o u r of
y o u to get together a n d l o o k at the f i l m , to m a k e s u r e that
y o u ' r e h a p p y w i t h h o w it t u r n e d o u t . . .
W : Okay.
T H : T h e n , if y o u ' r e h a p p y w i t h it, set u p a t i m e w h e r e y o u c a n g o
a n d s u r p r i s e y o u r father w i t h it.
W: It s o u n d s like fun.
TH: Y o u k n o w , I t h i n k t h i s i s a v e r y i m p o r t a n t t h i n g . B u t , of
c o u r s e , y o u a l s o k n o w this h a s to d o w i t h m u c h m o r e t h a n j u s t
your Dad.
W: O h y e a h — i t ' s the w h o l e f a m i l y .
TH: Yea.
Comment: T h e t e a m t e l e p h o n e w i t h s o m e s u g g e s t i o n s .
TH: O n e f i n a l w o r d f r o m the t e a m — w e w o u l d l i k e y o u to c o m e
b a c k h e r e i n a m o n t h for a n o t h e r talk. T h a t i s w h e n the t e a m
w i l l b e b a c k . I m a y w a n t to see y o u o n e t i m e b e t w e e n t h e n a n d
n o w , b u t t h e r e ' s o n e final w o r d f r o m the t e a m : w h e n y o u t w o
a n d C o n n i e go o u t s h o p p i n g for the b a l l , it i s i m p o r t a n t that
C o n n i e b e the o n e w h o selects the b a l l .
W: Okay.
TH: A n d y o u c a n tell h e r y o u a r e d o i n g t h i s for g r a n d p a . O k a y ?

W : S h e ' l l get a b i g k i c k o u t of that.
T H : A n d y o u m i g h t w a n t to t h i n k a b o u t w h e t h e r y o u w a n t to
b r i n g C o n n i e a n d e v e n y o u r m o t h e r b a c k for the n e x t s e s s i o n .
T h a t w i l l b e u p to y o u , o r j u s t the t w o of y o u c o m e , w h a t e v e r
y o u want.
W: O k a y , great. T h a t r e a l l y s o u n d s l i k e lots of f u n .
TH: A l r i g h t . Y o u take c a r e .
* * *
T h e n e x t c h a p t e r p r e s e n t s a n o t h e r c a s e i n w h i c h football i s i n
v o l v e d . I n t h i s c a s e the i d e n t i f i e d c l i e n t i s a f o r m e r p r o f e s s i o n a l
football p l a y e r . T h e c o n n e c t i o n b e t w e e n these t w o c a s e s w i l l b e
c o m e a p p a r e n t a s the c a s e s u n f o l d .
CHAPTER FOUR
The spell
ACT I : THE SET-UP
J ames, a f o r m e r p r o f e s s i o n a l football p l a y e r for s e v e n years

w i t h a c h a m p i o n t e a m i n the U S N a t i o n a l F o o t b a l l L e a g u e , a n d
h i s s e c o n d w i f e , M a r y , a w e l l - e d u c a t e d p r o f e s s i o n a l , c a m e for
t h e r a p y . J a m e s h a d b e e n i n a n d o u t of p s y c h i a t r i c i n s t i t u t i o n s
a r o u n d t w o to four t i m e s a y e a r for t h e p a s t n i n e y e a r s . D i a g n o s e d
a s " s c h i z o p h r e n i c " , h e s t a y s at h o m e a n d r e c e i v e s c o m p l a i n t s f r o m
h i s w i f e that h e d o e s n ' t d o a n y t h i n g .
W h e n J a m e s a n d M a r y got m a r r i e d , h i s first w i f e , S a n d y , t o l d
h i m , " Y o u r m a r r i a g e i s n o t g o i n g to last a m o n t h " . I n t h e i r d i v o r c e
s e t t l e m e n t J a m e s lost e v e r y t h i n g except the b e d r o o m furniture,
w h i c h is presently u s e d in his second marriage. W i t h i n three
m o n t h s after h i s first w i f e , S a n d y , m a k i n g this p r o c l a m a t i o n , h e w a s
i n a p s y c h i a t r i c i n s t i t u t i o n for the first of m a n y t i m e s .
W i t h these p r e s e n t i n g l i n e s a n d t h e m e s f o c u s i n g o n J a m e s a s
" s i c k " a n d " c r a z y " , the t h e r a p i s t m o v e d t o w a r d A c t I I , w h e r e the
n e w t h e m e i s i n t r o d u c e d of the c o u p l e h a v i n g a " s p e l l " c a s t o n
t h e m b y h i s first w i f e . I n this t h e m e , b o t h J a m e s a n d M a r y c a n w o r k
37
together to b r e a k the s p e l l , w h i c h i s a m o r e r e s o u r c e f u l t h e m e t h a n
d e a l i n g w i t h James as sick a n d crazy.
T h r o u g h o u t t h i s c a s e the f o l l o w i n g a b b r e v i a t i o n s w i l l b e u s e d :
T H = Therapist, CN = Consultant
J = James, husband M = Mary, wife
TH: B r a d a n d I h a v e b e e n t a l k i n g a b o u t y o u r s i t u a t i o n for a b o u t
the l a s t h o u r . A n d I ' v e b e e n f i l l i n g h i m i n o n w h a t w e ' v e d o n e
o v e r the last y e a r , y o u r p a s t h o s p i t a l i z a t i o n s , a n d a l l . A n d
w e a r e r e a l fortunate that B r a d i s h e r e , b e c a u s e , i n a d d i t i o n
to b e i n g a w e l l - k n o w n f a m i l y t h e r a p i s t h e h a s conducted
research o n traditional healing practices u s e d a r o u n d the
w o r l d . H e j u s t got b a c k f r o m A f r i c a , a s a m a t t e r of fact. H e ' s
b e e n o v e r there s t u d y i n g tribal h e a l i n g a n d this m a y become
useful.
J: Sure. Sure.
TH: U h , this i s w h a t B r a d ' s i d e a s w e r e w h e n I d e s c r i b e d for h i m

everything y o u a n d I h a v e talked about. U m . . . last night,
M a r y , y o u s a i d that i f s t i m e . . . that y o u ' r e t i r e d of p u t t i n g
t h i n g s off w i t h S a n d y , a n d i f s t i m e to p u t h e r b e h i n d y o u .
A n d James, y o u agreed w i t h w h a t she said. Y o u said y o u were
r e a d y for that. W e l l , I c o u l d n ' t a g r e e m o r e . B u t y o u see, I
t h i n k , a n d B r a d a g r e e s , that w e ' v e b e e n o n the r i g h t t r a c k o n a
lot of t h i n g s that w e ' v e t a l k e d a b o u t o v e r the l a s t y e a r , i n v o l v
i n g S a n d y a n d i n v o l v i n g , I d o n ' t k n o w if y o u w a n t . . . I ' m s u r e
y o u r e m e m b e r , w h a t w e w e r e t a l k i n g a b o u t i s that i f s a l m o s t
a s t h o u g h S a n d y w e r e t r y i n g to p u t a s p e l l o n y o u . S h e h a d
s a i d that " Y o u w o n ' t l a s t a m o n t h . Y o u w i l l n o t h a v e a m o n t h
of h a p p i n e s s . " T h a t r e a l l y s t r u c k m e a s s i g n i f i c a n t , a n d i n a lot
of w a y s , s h e ' s s u c c e e d e d .
Comment: T h e t r a n s f o r m a t i o n a l h i n g e that a t t e m p t s to m o v e the

c a s e f r o m a d d r e s s i n g the i m p o v e r i s h e d t h e m e of a " p s y c h o t i c m a n "
to a m o r e r e s o u r c e f u l t h e m e i n v o l v e s s p e c i f y i n g the f o r m e r wife's
"spell".
THE SPELL 39
J: I d o n ' t k n o w if s h e s u c c e e d e d . S h e s a i d if w e got m a r r i e d w e
w o u l d n ' t s t a y together a m o n t h .
T H : B u t l i s t e n , t h a f s w h a t h i t u s , b a c k there, l i k e a l i g h t n i n g bolt.
W h e n S a n d y s a i d . . . H e r e , first of a l l , I w a s w r o n g t h i n k i n g
that S a n d y ' s s p e l l w a s n o t a s t r o n g o n e . I n effect, it h a s b e e n a
p o w e r f u l , p o w e r f u l s p e l l , a n d r i g h t n o w , i t ' s t i m e to b r e a k it. I
c o u l d n ' t a g r e e m o r e w i t h y o u o n it. Y o u w a l k e d i n h e r e a n d
y o u s a i d , " I f s t i m e to p u t h e r b e h i n d u s . " A n d y o u w e r e r i g h t
o n target. Y o u [James] a g r e e d . B u t l i s t e n , h e r e i t i s , y o u w e r e
s a y i n g h o w i n the w o r l d it c o u l d b e n i n e y e a r s s i n c e the t w o of
y o u m a r r i e d . W e l l , it h a s n ' t b e e n n i n e y e a r s , J a m e s . I d o n ' t
w a n t to m e s s w i t h y o u r t i m e , o r a n y t h i n g l i k e that, b u t i f s a s
t h o u g h . . . s h e s a i d it w o n ' t last a m o n t h , a n d w h e n s h e s a i d
that, i n effect, w h e n s h e s a i d that, y o u w e r e f r o z e n i n t i m e .
T h a t ' s the bottom line. A s a couple, y o u ' r e frozen i n time. Y o u
a r e f r o z e n i n t i m e . I f s l i k e i f s four d a y s after s h e s a i d that. I f s
l i k e i f s o n l y b e e n four d a y s s i n c e S a n d y m a d e t h i s s t a t e m e n t
to y o u that i f s n o t g o i n g to last a m o n t h , a n d y o u g u y s h a v e
b e e n f r o z e n i n t i m e . It i s a s t h o u g h n o t h i n g h a s c h a n g e d . Y o u
h a v e b e e n d o i n g the s a m e t h i n g o v e r a n d o v e r a g a i n . O n e
e x a m p l e that h a p p e n e d j u s t n o w w a s w h e n y o u , M a r y , s a i d ,
" I d o n ' t tell y o u w h a t to d o a l l the t i m e " . A n d I ' m s u r e t h a f s
the t r u t h . I ' m s u r e y o u d o n ' t . B u t , i n effect, w h a t s h e d i d b y
s a y i n g that y o u w o n ' t last a m o n t h w a s that s h e got going
this k i n d of m i s u n d e r s t a n d i n g b e t w e e n the t w o of y o u . Y o u
h a v e n ' t l i v e d n i n e y e a r s of h a p p i n e s s , y o u ' v e l i v e d n i n e y e a r s
o f b e i n g at o d d s w i t h e a c h other. (James n o d d e d h i s h e a d i n
agreement.) N o t every minute, sometimes, occasionally, y o u
have a 30-minute reprieve—that is i n a w e e k or something.
T e n m i n u t e s h e r e a n d there. B u t y o u ' r e s t u c k . S t u c k still a s k
i n g the q u e s t i o n , " I s s h e r i g h t ? I s it g o i n g to last a m o n t h ? "
A n d let m e tell y o u s o m e t h i n g r i g h t n o w , w h a t I d o n ' t t h i n k
y o u h a v e c l e a r i n y o u r h e a d , I k n o w y o u ' v e h e a r d it a n d s a i d
it, y o u ' r e n o t g o i n g to l i k e this w o r d , b u t t h i s w h o l e last ten
y e a r s h a s b e e n s p e n t p r o v i n g that y o u ' r e n o t g o i n g to last a
month.
Comment: T h e t h e r a p i s t d e f i n e s the s p e l l a s the c o u p l e b e i n g f r o z e n

i n t i m e a n d r e f r a m e s the p a s t n i n e y e a r s a s four d a y s . T h i s e n a b l e s
a l l p r e v i o u s d e s c r i p t i o n s of u n e x p l a i n e d c o n d u c t to b e a c c o u n t e d
for b y a t e m p o r a l " p a t h o l o g y " . T h e w h o l e n i n e y e a r s of c o m p l a i n t s
a r e r e d u c e d to o n e q u e s t i o n r e g a r d i n g w h e n the s p e l l w i l l be
b r o k e n . N o t e that the s p e l l , a s t e m p o r a l l y d e f i n e d , w i l l b e l o g i c a l l y
broken when the c o u p l e r e a l i z e s that they r e a l l y h a v e stayed
together for m o r e t h a n o n e m o n t h .
TH: I k n o w t h i s m a y s o u n d c r a z y , b u t this i s a c r a z y s i t u a t i o n .
J: It doesn't s o u n d crazy.
TH: Y o u k n o w , i f s l i k e , y o u m a y b e at d a y 29, m a y b e . O r m a y b e
24,1 d o n ' t k n o w .

CN: I w a n t to let y o u k n o w h o w c o n v i n c e d w e a r e , to a d d a v o i c e
to t h e c h o r u s .
J: Okay.
CN: T h e spell is strong. She said y o u w o n ' t last more than a m o n t h .

D o y o u k n o w h o w e a s y i t i s to b r e a k the s p e l l ? A l l y o u h a d to
s a y i s , " W e w e n t p a s t a m o n t h " . T h e s p e l l w o u l d be b r o k e n .
S h e froze y o u i n t o t h i n k i n g y o u h a v e n ' t g o n e p a s t a m o n t h .
B u t it h a s b e e n n i n e y e a r s . A l l y o u ' v e got to d o i s s a y , " W e ' v e
g o n e n i n e y e a r s a n d the s p e l l i s b r o k e n " . W h e n y o u get that i n
y o u r h e a d , the f u r n i t u r e i s g o i n g to b e g o n e .
Comment: T h e t e m p o r a l d e f i n i t i o n of the s p e l l i s r e s t a t e d a n d r e
e m p h a s i z e d . I n a d d i t i o n a m e a n s of b r e a k i n g it i s set forth a s the
c o u p l e c o m i n g to g r i p s w i t h the r e c o g n i t i o n that t h e y h a v e b e e n
together n i n e y e a r s . F u r t h e r m o r e , it i s s u g g e s t e d that w h e n the s p e l l
i s b r o k e n t h e y w i l l k n o w that the b e d r o o m f u r n i t u r e m u s t b e m o v e d .
J: D i d n ' t I tell y o u that r i g h t a w a y ?
M: I j u s t f o u n d that o u t w h e n w e started c o m i n g h e r e .
CN: B u t y o u see h o w h i s life's b e e n ? T y p i c a l l y , w h e n y o u first

THE SPELL 41
b r e a k u p , it t a k e s a w h i l e to get b a c k o n y o u r feet. T o get b a c k

i n t h e w o r l d , a n d s o forth. B u t i f y o u ' r e f r o z e n i n t i m e , w h a f s
g o i n g to h a p p e n ? Y o u ' l l h a v e n i n e y e a r s to l o o k l i k e y o u ' r e i n a
o n e - m o n t h thing.
J: I understand.
CN: T h a f s p o w e r f u l stuff, s o I t h i n k i f s t i m e to talk to the m a n
a b o u t m o v i n g f o r w a r d w i t h getting that f u r n i t u r e o u t T h e y
c a n ' t d o it a l l at o n e t i m e — j u s t a p i e c e at a t i m e .
J: H o l d it, B r a d , let m e s a y t h i s a b o u t that. ( T u r n i n g to M a r y )
W h a t d i d I tell y o u the o t h e r d a y , that w a s n ' t the first t i m e I
told y o u about u s being frozen.
T H : F e e l i n g l i k e y o u ' r e f r o z e n ?
J: W h a t d i d I s a y the o t h e r d a y a b o u t the r o u t i n e w e ' r e i n . N o t

that I ' m a g a i n s t it, n o t that I d o n ' t l o v e b e i n g a t h o m e , b e i n g a
h o m e b o d y . Y o u k n o w w h a t I s a i d a b o u t that? T h a t w a s r e
cently.
M : Y o u ' r e a l w a y s saying something about w e don't d o anything,

i f s j u s t the s a m e o l d t h i n g .
CN: I w o u l d g u e s s for y o u , that if y o u ' d get i n s i d e y o u r h e a d , that

p r o b a b l y w h a t irritates y o u m o r e t h a n a n y t h i n g i s w a n t i n g
s o m e h o w to s a y to h i m a n d to y o u a n d to b o t h o f y o u , " L e f s
get o n w i t h i t ! "
TH: G e t o n w i t h it!
CN: L e f s g o a h e a d . L e f s m o v e o n . D o e s that m a k e a n y s e n s e to
y o u ? D o y o u h a v e a frustration a t t h i n g s b e i n g s t u c k ?
Comment: T h e t h e r a p y t e a m w i l l r e f r a m e a l l l i n e s offered b y c l i e n t s
a s u n d e r s t a n d a b l e i n l i g h t o f their f r o z e n t e m p o r a l state.
J: I sure do.
C N : A n d t h e n y o u n e e d to r e a l i z e h o w m u c h w o r k . I t i s h a r d e r
w o r k to s i t a n d b e f r o z e n . I t feels f r o z e n .
Comment: J a m e s ' s i n a c t i v i t y , p r e v i o u s l y n e g a t i v e l y connoted, i s

n o w u n d e r s t o o d a s h a r d w o r k w h e n v i e w e d i n the c o n t e x t o f a
frozen temporal spell.
J: I tell h e r i t ' s the h a r d e s t job i n the w o r l d .
C N : I f s u n b e l i e v a b l e . I f s a s p e l l a n d the t h i n g a b o u t it i s , i f s a s
s i m p l e a s r e a l i z i n g that it h a s b e e n n i n e y e a r s .
M: Y o u ' v e got to d o it.
CN: I f s been nine years . . .
J: A n d I ' m n o t s a y i n g to h e r to h e l p m e , y o u k n o w , get o u t of this

o r s a y i n g that s h e s h o u l d d o s o m e t h i n g , b u t i n a w a y , I a m . I n
a w a y , I ' m s a y i n g to h e r , " H e y , w h y d o n ' t w e d o . . . ? " S h e
u s e d to s a y , " L o o k , w h y d o n ' t y o u g o ? "
TH: B u t y o u see w h a t h a p p e n s ? I t h i n k , b e c a u s e y o u u s e d the w o r d

in t h e r e — " d e c o y s " . If you're a hunter, i f s a decoy. Y o u t w o
get i n t o a s p a t o v e r this o r that, o r y o u n a m e it, t h e y ' r e d e c o y s .
T h e y take y o u off the scent.
CN: A n d t h a f s n o t the i s s u e . S a n d y i s i r r i t a t i n g y o u , getting h i m

to d o t h i s , or g e t t i n g h i m to d o w h a t h e t h i n k s i s a g o o d i d e a .
A l l that stuff i s j u s t n a t u r a l r e l a t i o n s h i p c r a p . I m e a n , w h o w a s
it that s a i d , " m a r r i a g e is h e l l . T h e o n l y t h i n g w o r s e i s b e i n g
s i n g l e " ? Y o u k n o w ? I m e a n , t h i s i s p a r t of the stuff that g o e s
w i t h b e i n g m a r r i e d . O n the other h a n d , there a r e f r u s t r a t i o n s ,
b u t t h e y ' r e s i d e effects of this o t h e r t h i n g . D o n ' t get c o n f u s e d
w i t h it. T h e t h i n g at h a n d h e r e i s to r e a l i z e that y o u ' v e s u r
vived nine years.
TH: N e x t m o n t h i f s ten. T h e i r a n n i v e r s a r y i s i n a m o n t h f r o m n o w .
CN: T e n y e a r s . I f s b e e n ten y e a r s . G e t this i n t o y o u r h e a d a n d t h e

s p e l l w i l l b e b r o k e n , y o u c a n get o n w i t h y o u r life a n d y o u c a n
get that d a m n f u r n i t u r e out of . . .
J: I f s t i m e to d o it n o w .
Comment: T h e t h e r a p y t e a m d i r e c t l y s u g g e s t s that t h e y w a k e u p
f r o m the s p e l l . T h e c o u p l e w i l l be g i v e n specific i n s t r u c t i o n s to t a k e
a c t i o n i m m e d i a t e l y . A s w i l l be s e e n , the t e a m w i l l e n c o u r a g e t h e m
to l e a v e the s e s s i o n , g o to their h o m e , a n d p e r f o r m a t a s k the e n a c t
m e n t of w h i c h i s v e r i f i c a t i o n that the s p e l l h a s b e e n b r o k e n .
TH: T h a f s t h e p o w e r of the s p e l l . I f s t i m e to d o it n o w . Y o u s a i d it
yesterday.
THE SPELL 43
CN: ( L e a v i n g ) I ' m g o i n g to let y o u talk.

TH: . . . I t ' s t i m e to d o it n o w . M a y b e y o u a r e t h i n k i n g i t ' s p r e m a
t u r e , t h i s f u r n i t u r e b u s i n e s s , b u t I tell y o u w h a t , I d o n ' t t h i n k
y o u n e e d to t h i n k a b o u t it, I t h i n k m a y b e i f s t i m e to d o s o m e
thing.
J: I t i s t i m e to start.
TH: I f y o u c a n ' t d o it a l l a t o n c e , t a k e o n e p i e c e at a t i m e . T a k e a
k n o b off of o n e of the d r e s s e r s , y o u k n o w , to start. B u t start.
A n d get it d o n e . S t o p a c t i n g l i k e y o u ' r e o n l y g o i n g to last a
m o n t h . R e a l i z e that y o u ' v e l a s t e d ten y e a r s . Y o u ' v e got a n
a n n i v e r s a r y c o m i n g u p . W h a t better a n n i v e r s a r y gift t h a n to
p u t s o m e a s h e s f r o m the b u r n t - u p b e d r o o m f u r n i t u r e o n h e r
lawn.
J: I u n d e r s t a n d . I u n d e r s t a n d . ( N o d d i n g i n affirmation)
TH: If y o u o n l y c a r v e off o n e little p i e c e a n i g h t , t h e n d o it. I f s t i m e

to d o s o m e t h i n g . I f s t i m e to c l e a n h o u s e . A s m u c h a s I l o v e
t a l k i n g to y o u t w o , i f s c o s t i n g y o u a t o n of m o n e y to c o m e
h e r e , y o u k n o w ? A n d I ' m c h e a p c o m p a r e d to o t h e r t h i n g s . I f s
time to d o s o m e t h i n g . T o n i g h t , M a r y , if y o u w e r e to take o n e
p i e c e , o n e p a r t off t h e f u r n i t u r e , tonight, w h a t w o u l d it b e ?
W h a t w o u l d y o u d o ? A s a s t a r t i n g p o i n t , t a k e o n e little p i e c e
off of that f u r n i t u r e , a s a w a y to start. W h a t w o u l d it b e ?
Comment: T h e t h e r a p y t e a m w i l l n o t b a c k u p f r o m p u s h i n g t h e
c o u p l e to w a k e u p f r o m the s p e l l . T h i s c o n s t a n t c h a l l e n g e i s d o n e to
k e e p the c o n v e r s a t i o n f o c u s e d o n the r e s o u r c e f u l t h e m e . F r o m t h e
p e r s p e c t i v e of R F T , the t h e r a p y t e a m i s not p u s h i n g to c h a n g e t h e
c l i e n t s , b u t a t t e m p t i n g to s t a b i l i z e the r e s o u r c e f u l c o n t e x t t h a t i s
e m e r g i n g of a c o u p l e a d d r e s s i n g h o w to face a f r o z e n m a r i t a l s p e l l
jointly.
M : O n e little p i e c e off?
T H : Y e s , a s a w a y of s a y i n g , w e ' r e g o i n g to start t o n i g h t , a n d t h e n
g o f r o m there. I f s t i m e to start.
J: B a s i c a l l y , y o u h a v e t w o n i g h t tables, t w o l a m p s , b e d a n d
f r a m e , a c h e s t of d r a w e r s , a n d a d r e s s e r . N o w , the a p p e a r a n c e
o f i t , i f s a n i c e - l o o k i n g t h i n g b u t the i d e a o f . . . b u t i t i s
beyond that I w a s n ' t thinking clearly. T h a t b e d r o o m set

s h o u l d h a v e b e e n the last t h i n g I k e p t .
TH: I d o n ' t t h i n k i f s c o i n c i d e n t a l that s h e left that p a r t i c u l a r t h i n g
w i t h y o u . I ' m s o r r y . W h e t h e r s h e m e a n t to d o it, c o n s c i o u s ,
u n c o n s c i o u s , the fact i s s h e left y o u t h e b e d a n d s a i d y o u r
m a r r i a g e to M a r y w i l l n o t last a m o n t h .
Comment: T h e c o n s u l t a n t e n t e r s the r o o m .
CN: I j u s t w a n t to p o i n t o u t the p o w e r o f the s p e l l .
TH: Yeah.
CN: Y o u c a n ' t e v e n c o m e u p w i t h a p i e c e . W h a t I w o u l d l i k e to d o
i s to let t h e m h a v e a d i s c u s s i o n . I f y o u tonight got r i d of s o m e

t h i n g . . . if y o u f i n d that y o u h a v e to g o s m a l l , it m a y b e j u s t a
p i e c e of the l a m p - s h a d e . I s it fabric? S o m e t h i n g y o u c a n c u t ?
Comment: T h e c o u p l e ' s h e s i t a t i o n to a g r e e o v e r w h a t t h e y c a n g e t
r i d of i s c i t e d a s further e v i d e n c e o f the s p e l l . T h u s , t h e i r r e l u c t a n c e
to t a k e a c t i o n i s u t i l i z e d a s further v e r i f i c a t i o n t h a t a c t i o n i s n e c e s
s a r y . I n this w a y a l l c l i e n t l i n e s a r e w o v e n into s u b s t a n t i a t i n g a n d
e l a b o r a t i n g the r e s o u r c e f u l c o n t e x t
J: Yeah.
CN: I t m a y b e s o m e t h i n g s m a l l . T h e s p e l l m a y b e s o m u c h that t h e
first t h i n g y o u d o i s j u s t take a little p i e c e a n d g e t i t o u t I
m e a n , this m a y b e too o v e r w h e l m i n g to t h i n k of a w h o l e l a m p ,
or a w h o l e c h u n k of furniture.
J: I h a v e to g i v e M a r y c r e d i t for this. A s far a s c h a n g e s , s h e ' s

rigid, rigid, as a 90-year o l d . . .
TH: L o o k at y o u r w i f e ' s face.

M : T a l k a b o u t c h a n g e s — h i m . H a v e I e v e r w a n t e d it o u t ? I t n e v e r
c a m e a c r o s s m y m i n d . T h e o n l y t h i n g that c o n c e r n e d m e
w h e n h e . . . w e d i d n ' t h a v e to b u y b e d r o o m f u r n i t u r e b e c a u s e
h e h a d that f r o m h i s settlement. B u t I d i d n o t w a n t t h e
mattress.
T H : See, y o u h a d a s e n s e of it.
THE SPELL 45
CN: See, t h a t ' s the p o w e r of the s p e l l . I t ' s n e v e r c o m e a c r o s s y o u r

m i n d . I t ' s n e v e r c o m e a c r o s s y o u r m i n d that y o u ' v e g o n e p a s t
a m o n t h . I m e a n , i t ' s n o t . . . m y s e n s e i s , a n d I j u s t w a n t to
i n v i t e y o u to talk a b o u t w h a t p i e c e c o u l d y o u c o m f o r t a b l y get
r i d of t o n i g h t . B e c a u s e , I t h i n k y o u ' d b e a m a z e d i f y o u e n d e d
u p s l e e p i n g o n the floor, a n d n o t h i n g i n that r o o m , a s o p p o s e d
to w h a t y o u ' r e i n n o w . Just the p o w e r , t h i s i s w h a t h a s h e l d
y o u r life I f y o u h a d to get r i d of s o m e t h i n g , that y o u c o u l d
a c t u a l l y d o it. I t m a y b e s u c h a t i n y t h i n g , j u s t a c l i p o u t of the
shade.
J: W e l l , I w a n t M a r y . . . n o w y o u t a l k e d to u s a b o u t t h i s a n d y o u
got u s b o t h to a g r e e , a n d I a s k e d M a r y w h a t a b o u t it, a n d s h e
w a s n ' t r e a l l y . . . b u t h e r e w e go a g a i n .
M: She wasn't?
CN: I s t h i s h e r h o u s e y o u l i v e i n ? I s it h e r b e d r o o m ?
TH: See, I a s k e d that. I a s k e d that.
CN: Y o u m a y n e e d to g o i n t o a n o t h e r r o o m , a n d l o c k t h e d o o r ,
u n t i l y o u ' r e r e a d y to get that o u t of there.
TH: I a s k e d t h e m that last n i g h t . I s a i d , " H o w m a n y b e d r o o m s d o

y o u h a v e ? Y o u h a v e Joey, y o u ' v e got y o u r s e l v e s , a n d w h a t
w a s y o u r daughter's. A n d n o w i f s used as a whatever room.
It m i g h t b e . . . see, h e r e ' s w h a t I t h i n k , J a m e s , I d o n ' t t h i n k
M a r y i s rigid i n p a r t i c u l a r . I n fact, I t h i n k y o u ' r e g o i n g to b e
t i c k l e d b y the effects of b r e a k i n g the s p e l l .
CN: L e t ' s find o u t . L e t ' s g i v e t h e m five m i n u t e s to see if t h e y c a n

a g r e e u p o n s o m e o n e little t h i n g that they c o u l d t a k e o u t of
that r o o m .
TH: See, I t h i n k y o u ' r e g o i n g to be t i c k l e d p i n k to get o u t of t h i s

r u t , b u t , w h a t I t h i n k it i s , i s that w e a l l h a v e . . . m e , I ' m
n u m b e r o n e , I ' m s u p p o s e d to b e the d a m n e x p e r t h e r e , I
u n d e r e s t i m a t e d this s p e l l , b i g t i m e . T h a t ' s this . . . this s p e l l i s
n o t j u s t f r e e z i n g y o u , J a m e s , i t ' s f r e e z i n g y o u too M a r y . Now
five m i n u t e s , I ' m g o i n g to get o u t of h e r e a n d let y o u talk.
CN: W e ' l l see w h a t h a p p e n s .

TH: N o t o n l y d o e s it freeze y o u , b u t it freezes y o u into a c c u s i n g
e a c h o t h e r of b e i n g the s l o w - p o k e .
CN: I d o n ' t t h i n k that i n five m i n u t e s they c a n a g r e e o n a n y t h i n g i n

that r o o m .
J: H e y , t h a t ' s a tall statement.
Comment: H a v i n g c h a l l e n g e d the c o u p l e , the t h e r a p i s t a n d c o n s u l t

a n t l e a v e the r o o m to o b s e r v e the c o u p l e ' s i n t e r a c t i o n .
J: L i s t e n , M a r y , w h e n h e s a y s it l a s t e d a m o n t h , t h a f s the first
t i m e it c a m e u p , w h e n h e a s k e d w h e t h e r w e w e r e still s l e e p i n g
. . . w h e n h e a s k e d u s p o i n t b l a n k w h e t h e r w e w e r e still s l e e p
i n g i n the s a m e b e d o r s o m e t h i n g l i k e that.
M: T h a t b e d w a s n ' t the f u r n i t u r e , J a m e s . I f s the b e d r o o m set.
J: But y o u understand w h a t they're saying a b o u t . . .
M: Y e s , n o w w e ' r e s u p p o s e d to be m a k i n g a d e c i s i o n if w e w e r e
g o i n g to get r i d . . .
J: I w r o t e those p e o p l e w h o w e r e h a v i n g s a l e s that w e e k e n d a n d
this l a d y , b u t I d i d n ' t s a y a n y t h i n g to y o u a b o u t it. A l l I w a s
c o n c e r n e d a b o u t at that p o i n t w a s j u s t getting r i d of the h e a d
b o a r d , b u t u h . . . w e c a n g o for the w h o l e t h i n g . I t h i n k it
w o u l d b e r e f r e s h i n g . I t h i n k that w o u l d b e p o s i t i v e .
M: A n d y o u ' r e r e a d y to b u r n it u p ?
J: I ' m r e a d y to get it o u t of there.
M: B u r n it u p !
J: N o w , I ' m n o t s a y i n g I ' m c h e a p o r a n y t h i n g , b u t the a p p e a r

a n c e of the b e d r o o m s u i t e i s . . . that m a y b e w h a t h a s u s k i n d
of . . . it a p p e a r s to b e a n i c e outfit, b u t i f s m o r e t h a n that.
W h a f s b e h i n d it s h o u l d b e o v e r .
M: W h a t p i e c e d o y o u w a n t to get rid of? T o n i g h t , w h i c h p i e c e ?

J: L e f s get a l a m p - s h a d e o u t of there, at least. O t h e r w i s e , w h e n
. . . w h a t w e ' r e g o i n g to h a v e to d o i s j u s t g o p u t a b e d r o o m
s u i t e o n l a y a w a y a n d that w a y i f s set u p , w e ' r e g o i n g to h a v e
to get rid of e v e r y t h i n g , b e c a u s e there i s stuff i n e v e r y t h i n g . S o
w e ' r e g o i n g to h a v e to d o it a l l , pretty m u c h .
M: A n d w e ' r e g o i n g to c h o p i t u p for f i r e w o o d ?
J: W e ' r e g o i n g to h a v e to get it o u t of there. ( T h e y b o t h l a u g h )

THE SPELL 47
I d o n ' t t h i n k i f II b e a s p e l l e n o u g h to . . . to k e e p f r o m fretting
a b o u t w e g a v e it to s u c h a n d s u c h a c o u p l e a n d t h e y h a d b a d
l u c k . . . . w e g a v e t h e m a p i e c e of this a n d a p i e c e to t h e m a n d
they h a d b a d luck . . .
Comment: T h e t h e r a p y t e a m i s satisfied w i t h the c o u p l e ' s m a i n

t a i n e d p r e s e n c e i n the r e s o u r c e f u l context. A t t h i s p o i n t the t h e r a
p i s t r e e n t e r s the r o o m .
TH: F i v e m i n u t e s j u s t flies b y . L i s t e n n o w , I t h i n k t h i s i s s o i m p o r
tant. N u m b e r 1 — I ' l l tell y o u w h a t , a s I w a s w a l k i n g o u t the
d o o r , I t h i n k y o u ' r e f r o z e n i n t i m e , b o t h of y o u , n o t j u s t y o u ,
J a m e s , a n d I t h i n k y o u ' r e f r o z e n i n t o b i c k e r i n g at e a c h o t h e r
a b o u t m u n d a n e j u n k , that k e e p s y o u s t u c k . O k a y , a n d if i f s
n o t m u n d a n e stuff, t h e n y o u ' r e f r o z e n i n . . . i n a c c u s i n g the
o t h e r of b e i n g s t u c k . Y o u k n o w ? Y o u tell e a c h o t h e r . W e j u s t
o v e r h e a r d y o u s a y , " M a y b e a l a m p - s h a d e , a l a m p - s h a d e to
n i g h f ' . R i g h t ? W h a t w e w a n t to k n o w i s b y w h e n c a n y o u d o
t h i s ? B e c a u s e w e w a n t to g i v e y o u a c a l l to m a k e s u r e .
J: N o w t h a t w o u l d be m o r e t h a n a s m a l l p i e c e , that w o u l d b e
major, m o r e or less, being a n u n c o v e r e d l a m p .
M : Y o u ' r e the o n e that s u g g e s t e d a l a m p - s h a d e .
J: W e ' v e got to start s o m e w h e r e . W e ' v e got j u n k i n e v e r y t h i n g .

S o w e h a v e to m a k e p l a n s to j u s t g o the s a m e r o u t e . A n d t h e n
c h a n g e o v e r , a n d get e v e r y t h i n g c h a n g e d o u t .
T H : J u s t r e l a t i v e l y n i c e f u r n i t u r e i s e x p e n s i v e . I m e a n , i f s n o t e a s y
to r e p l a c e a b e d r o o m set. I n t h i s d a y a n d t i m e i f s e x p e n s i v e . I
p e r s o n a l l y t h i n k that a g o o d t h i n g for y o u to d o i s to s h u t t h e
d a m n d o o r o n that r o o m , u s e y o u r s p a r e b e d r o o m , a n d t a k e
the f u r n i t u r e o u t a s y o u c a n .
J: W e l l , t h e r e ' s o n e r i g h t a c r o s s the h a l l f r o m the o t h e r o n e .
TH: M y p o i n t i s to j u s t take a c t i o n . If y o u c a n ' t t a k e a w h o l e l a m p

s h a d e , take y o u r s c i s s o r s , take a k n i f e , c u t a p i e c e of l a m p
s h a d e o u t , d o w h a t e v e r y o u ' v e got to d o to start.
M : O h , w e c a n c u t a p i e c e of the l a m p s h a d e out.
T H : L e f s n o t let t h i s b e the o n l y t h i n g y o u d o i n the n e x t two
weeks.
J: I w a n t M a r y to b e i n a g r e e m e n t totally a b o u t t h i s . I u n d e r
stand, y o u know, wholeheartedly what you're saying about
that. I t ' s a s y m b o l a n d I s a i d to h e r that the a p p e a r a n c e of the
bedroom suite—it's nice-looking, carved . . .
M: I t ' s n o t that n i c e .
CN: M a n , t h i s i s a t o u g h s p e l l ! I h e a r d y o u i n there s a y i n g , " l e f s get

it a l l o u t " . A n d t h e n w h e n I s a i d , " L e f s get the l a m p - s h a d e
out", you said, " W e l l . . . "
J: I t a k e t h e b l a m e . I h a d to b e a d a m n fool for b r i n g i n g it i n the

h o u s e i n the first p l a c e .
TH: Y o u c a n ' t b e b l a m e d for d o i n g that. I f s the s p e l l , y o u ' r e n o t to

blame.
CN: I f s the s p e l l , y o u h a v e n o r e s p o n s i b i l i t y . Y o u a g r e e to g o
s t r a i g h t h o m e , t a k e s o m e t h i n g o u t a n d b u r n it?
T H : A n d d o n ' t d o too m u c h . W h a t is i m p o r t a n t i s that y o u s t a r t

small.
Comment: T h e therapy team repeatedly r e f r a m e s the couple's

b l a m i n g a s a c o n s e q u e n c e of the s p e l l . W i t h t h i s u n d e r s t a n d i n g , the
c o u p l e ' s d i s a g r e e m e n t s d o not n e c e s s a r i l y l e a d to d i s t a n c i n g t h e m ,
b u t m a y p a r a d o x i c a l l y j o i n t h e m b y r e n e w i n g their d e s i r e to b r e a k
the s p e l l .
TH: O n e little t h i n g ?
CN: C a n y o u agree to o n e ?
M: W e c a n c u t a p i e c e o u t of that l a m p .
TH: A n d y o u ' r e g o i n g to c u t it u p ? A little at a t i m e .
J: Yeah.
CN: T h e l a s t t h i n g that I w a n t to s a y to y o u i s t h i n k a b o u t this: the
l o n g e r that f u r n i t u r e s t a y s i n there, the m o r e t h e r a p y you
p e o p l e a r e g o i n g to n e e d to get a n d y o u start a d d i n g that u p ,
a n d y o u ' v e got f u r n i t u r e . D o y o u h e a r w h a t I ' m s a y i n g ?
TH: Y o u c o u l d h a v e p a i d for that f u r n i t u r e 40 times.
M : I s t h i s s o m e of k i n d of A f r i c a n R i t u a l ? T h a t ' s i n the b a c k of m y
mind. (Laughing)
THE SPELL 49
CN: No, no, no.
TH: W e t a l k e d a b o u t this m o n t h s ago.
M: Y e a h , I k n o w w e t a l k e d a b o u t it, b u t I k n o w J a m e s too.
TH: Y o u k n o w w h a t I think about y o u a n d M a r y right n o w ? I think

this i s the p a r t of the s p e l l w h e r e y o u a c c u s e h i m of b e i n g a
s l o w - p o k e a n d h e a c c u s e s y o u a n d if i t ' s n o t that w a y a r o u n d
h e ' s a c c u s i n g y o u of b e i n g a s l o w - p o k e a n d w h a t h a p p e n s i s
y o u s t a y r i g h t w h e r e y o u ' r e at, a n d n o t h i n g c h a n g e s .
J: I think you're r i g h t
CN: I t h i n k t h e y s h o u l d a r g u e a l l they w a n t , b u t I t h i n k w h a t they

s h o u l d d o tonight i s a g r e e o n a t i m e a n d y o u call t h e m a n d s a y
that s o m e t h i n g i s o u t of that r o o m a n d b u r n e d . T h a f s it. E v e n
if i f s j u s t a tiny little p i e c e .
J: When?
TH: W h e n you're ready.
CN: So I'll be seeing y o u .
J: When?
T H : H e ' s s a y i n g i n a m o n t h p r o b a b l y , b e c a u s e h e ' s g o i n g to b e
back in a month.
J: Y o u ' l l be back i n a month?
CN: I w i l l a n d g o o d l u c k to y o u b e c a u s e . . .
J: O k a y , w e s h o u l d b e clear . . .
TH: Y o u s h o u l d be c l e a r b y the t i m e I call y o u t o n i g h t
J: O h y e a h , y e s . ( T u r n i n g to M a r y ) Y o u a r e g o i n g to b e s e e i n g to
that.
M: I t h o u g h t w e w e r e s u p p o s e d to d o it t o g e t h e r — w e .
TH: W e a r e g o i n g to d e c i d e o n s o m e t h i n g .
CN: T h e o n l y t h i n g that I w o r r y a b o u t w i t h y o u i s n o t p i s s i n g
p e o p l e off, i t ' s j u s t f i n d i n g w a y s to p i s s p e o p l e off that y o u c a n

e n j o y . T h e r e ' s a little t h i n g a b o u t it. W h e n y o u get to the top i n
p l a y i n g football, that p i s s e s a lot of p e o p l e off.
T H : O h , it p i s s e s a lot of p e o p l e off. Y o u k n o w w h o it p i s s e d off,
B r a d ? I t p i s s e d off h i s b r o t h e r s . I ' l l bet y o u .
M : T h e y p l a y e d football too.
T H : D o n ' t tell m e they w e r e n ' t c o m p e t i n g o v e r w h o w a s the best.
J: O n e of t h e m s a i d that I w a s the best athlete. T h a t w a s a little

m o r e s a r c a s t i c t h a n w h a t e v e r , just r e a l l y , I w o u l d j u s t l i k e
to...
C N : O n e t h i n g I w a n t to s a y a b o u t y o u b e c a u s e I h a v e to r u n i s that
if y o u . . . y o u s a i d . . . y o u ' v e got a c r a z y p a r t too. See, I t h i n k
y o u are both crazy.
M: I h a v e to be.
CN: B u t the w h o l e trick i s h o w to enjoy y o u r c r a z i n e s s .
M: I e n j o y it.
CN: W e l l , j u s t get t h i s s p e l l o u t of y o u r life.
J: I s a y that s h e u s e d to h a v e a s e n s e of h u m o u r a n d t h e n I
t h o u g h t I h a d one, y o u k n o w , b u t u h . . .
TH: A n d S a n d y j u s t s u c k e d i t r i g h t o u t of y o u r m a r r i a g e . I b e t n i n e
y e a r s a g o y o u g u y s w e r e s o m e t h i n g to be a r o u n d .
C N : I ' l l tell y o u s o m e t h i n g else, w h e n y o u g u y s get it o u t of that

r o o m tonight a n d b u r n it, i f s got to b e b u r n e d . Y o u ' r e g o i n g to
f i n d that y o u r s e n s e of h u m o u r i s g o i n g to t e m p t y o u to n o t
take it s e r i o u s l y a n d get the giggles. I t h i n k t h i s s h o u l d b e
done seriously.
J: I agree.
CN: Y o u s h o u l d d o that a s s e r i o u s l y a s y o u c a n be. B e c a u s e i f s

g o i n g to s e e m s i l l y l o o k i n g at h i m d r a g g i n g o u t a h u g e h u n k of
that f u r n i t u r e . . . a n d y o u take it s e r i o u s l y b e c a u s e this i s
really serious.
TH: S e r i o u s , a n d i f s o n l y the first step.
Comment: T h e t h e r a p i s t s c o n n o t e the task a s " s e r i o u s " a n d w a r n

t h e m a b o u t l a u g h i n g . T h i s i s p a r a d o x i c a l l y i n t e n d e d to escalate the
a b s u r d i t y of the task w i t h the h o p e that the c o u p l e w i l l b e u n a b l e to
r e s i s t the t e m p t a t i o n s of h e a l i n g l a u g h t e r .
CN: Absolutely.
TH: W h e n c a n I call y o u tonight to see h o w it g o e s ?
J : A f t e r 9:00.
THE SPELL 51
T H : O K , b e t w e e n 9:00 a n d 9:30 I ' l l g i v e y o u a c a l l .
J: Okay.
TH: T h e l a m p - s h a d e l o o k s l i k e i t ' s w i n n i n g the r a c e , b u t it d o e s n ' t

m a t t e r to m e w h a t p i e c e it i s . P a r t of a p i e c e . A n d l i k e B r a d
s a i d , m a y b e w e ' r e s t a r t i n g too b i g . M a y b e w e h a v e to start
small. I hear y o u r point. Y o u can't just throw y o u r clothes i n a
p i l e i n a c o r n e r of the b e d r o o m .
J: Well, w e could, you know. That would provoke bringing in a

n e w set of f u r n i t u r e .
T H : Y o u [ J a m e s ] c a n b e i n c h a r g e of getting it o u t of the r o o m , a n d
y o u [ M a r y ] c a n b e i n c h a r g e of b u r n i n g it. T h e n y o u [ J a m e s ]
c a n b o t h c h o p it u p together if y o u n e e d to, b e c a u s e y o u ' r e a
pretty s t r o n g g u y a n d w i e l d i n g a n ax m a y b e i s h a r d w o r k .
L o o k a t m e . I a i n ' t d o n e it i n a l o n g t i m e b u t I r e m e m b e r w h a t
i t ' s a l l a b o u t . B u t u h . . . y o u be i n c h a r g e of getting it o u t of the
r o o m , a n d y o u b e i n c h a r g e of b u r n i n g it u p a n d k e e p those
a s h e s b e c a u s e y o u ' v e got s o m e t h i n g else y o u h a v e to d o w i t h
those. O k a y ? A l r i g h t . Y o u got a job a h e a d of y o u . L e t m e s a y
o n e m o r e t h i n g . If y o u b e g i n to find y o u r s e l f not d o i n g a n y
t h i n g w i t h this, w o u l d y o u just r e m i n d y o u r s e l f that y o u k e e p
u n d e r e s t i m a t i n g h o w d a m n s t r o n g this s p e l l i s . B e c a u s e S a n d y
i s a s p r e s e n t i n y o u r life r i g h t n o w a s s h e w a s n i n e y e a r s a g o
w h e n s h e s a i d that y o u w o n ' t last a m o n t h .
J: I a g r e e w i t h y o u there. I . . . y o u k n o w , I ' m not b l a m i n g M a r y

with anything . . .
TH: Y o u ' r e b o t h u n d e r the s p e l l .
J: Y e a h , b o t h of u s .
TH: Y o u ' r e b o t h u n d e r a s p e l l , a n d that w o m a n . . .

J: I t h a s to b e d o n e together . . .
TH: Y o u c a n ' t d o it a l o n e . N e i t h e r of y o u c a n d o it o n y o u r o w n .
J: I c a n ' t get h e r to d o a n y t h i n g . . .
TH: Y o u c a n ' t d o it o n y o u r o w n , y o u d o n ' t w a n t to d o it a l o n e .
T h e effect of that s p e l l i s s o s t r o n g that it m i g h t p r o v o k e y o u
into a c c u s i n g the other of d r a g g i n g their feet, y o u k n o w , a n d
then the n e x t t h i n g y o u k n o w y o u ' r e g o i n g a r o u n d i n c i r c l e s
a n d y o u get c a u g h t u p i n the b u l l s h i t that h a s n o t h i n g to d o
w i t h the s p e l l w h i c h I t h i n k i s a t the c e n t r e of it. I c a n ' t w a i t to

c a l l y o u a t 9:30 to f i n d o u t w h a t y o u d e c i d e d to b u r n .
J: I c a n tell y o u there w i l l b e a h o l e r i g h t i n the front, s o e v e r y

t i m e y o u go i n the r o o m y o u ' l l see the b u l b . . . I t w i l l j u m p o u t
at u s .
T H : Y e a h , y o u ' l l see it. A n d t h e n the n e x t t i m e s o m e t h i n g e l s e —

m a y b e a h o l e o n the other s i d e .
Comment: L a t e r that n i g h t w e c a l l e d J a m e s a n d M a r y . T h e y h a d c u t
o u t a h o l e i n the l a m p s h a d e a n d w e r e u n a b l e to stop g i g g l i n g o n t h e
p h o n e . W e r e m i n d e d t h e m of the s e r i o u s n e s s of the s i t u a t i o n a n d
c o n g r a t u l a t e d t h e m o n the action t h e y h a d t a k e n .
CHAPTER FIVE
The family football game
S e v e r a l w e e k s after the p r e v i o u s l y d e s c r i b e d s e s s i o n w i t h
J a m e s a n d M a r y , w e d e c i d e d to c a l l J a m e s a n d a s k h i m to
s e r v e a s a c o n s u l t a n t o n the c a s e w i t h the p o l i c e c o u p l e w h o
h a d b e e n i n s t r u c t e d to p l a y a n d f i l m a f a m i l y football g a m e . T h e y
h a d b e e n u n a b l e to c o m p l e t e the a s s i g n m e n t , s o w e h i r e d J a m e s to
b e a football c o n s u l t a n t to h e l p t h e m c a r r y o u t the task.
I n this consultation session, H a l a n d W a n d a brought their
d a u g h t e r , C o n n i e , a n d w e r e i n t r o d u c e d to o u r c o n s u l t a n t , J a m e s .
T h e f o l l o w i n g a b b r e v i a t i o n s w i l l be u s e d to d e s i g n a t e p a r t i c i
p a n t s i n this s e s s i o n :
TH = Therapist, CN = Consultant
W = Wanda, wife H = Hal, husband
C = Connie, daughter TH = Therapist
ACT I: INTRODUCING THE COACH
TH: (to C o n n i e , the d a u g h t e r ) H i , I ' m W e n d e l . I f s n i c e to m e e t y o u .

O h g o s h , s h e ' s got m e a n d s h e w o n ' t let go. H o w a r e y o u a l l ?
H: Fine.
53
TH: I f s g o o d to see y o u .
W: I f s g o o d to b e b a c k .
TH: I w a n t y o u to k n o w that w e h a v e a r a r e o p p o r t u n i t y . W e w e r e
t h i n k i n g a b o u t w h a t y o u told m e o n the p h o n e a b o u t h o w
it w a s difficult to get y o u r m o t h e r i n v o l v e d i n g e t t i n g t h i s
assignment done.
W: Uh-huh.
TH: Actually, that h a s t u r n e d out to o u r a d v a n t a g e in many

respects.
W: Oh? Okay.
TH: W e h a v e the p r i v i l e g e of h a v i n g a f o r m e r p r o f e s s i o n a l football

p l a y e r a s p a r t of o u r t e a m t o d a y . . .
Comment: J a m e s , w h o s e p r e v i o u s e x p e r i e n c e s of b e i n g i n t h e r a p y
contexts o v e r the last n i n e y e a r s m a r k e d h i m as " p s y c h o t i c " , i s n o w
p r e p a r i n g to enter a t h e r a p y s e s s i o n w h e r e h e is i n t r o d u c e d a s a
resourceful expert a n d consultant.
W : Wow!
T H : Y e a h , h e c a m e i n at a s p e c i a l r e q u e s t to d o a c o n s u l t a t i o n w i t h
u s i n w o r k i n g w i t h y o u a l l , a s a m a t t e r of fact.
W : Neat!
T H : H e p l a y e d for eight y e a r s i n the n a t i o n a l football l e a g u e , h e

p l a y e d six y e a r s for A t l a n t a F a l c o n s , a n d t w o y e a r s w i t h . . .
H: What! What's his name?
TH: James Jackson.
H: - O h y e a h ! Y e a h . See, I ' m a n A t l a n t a fan.
TH: N o k i d d i n g . W e ' l l get J a m e s to a u t o g r a p h the b a l l for y o u .

H : Great!
W: N e a t , neat.
TH: W h a t w e were thinking was, since y o u ' r e h a v i n g some trouble
getting y o u r m o t h e r i n v o l v e d , a n d s i n c e C h r i s t m a s i s r i g h t
a r o u n d the c o r n e r , u h . . . w e a s k e d J a m e s to c o m e i n to h e l p
y o u a little bit . . . d o y o u h a v e a n y p l a y s that y o u put
together?
THE FAMILY FOOTBALL GAME
55
W : I w a s w a i t i n g to k i n d of get it l i n e d o u t . . .
H : W e w e r e . . . n o , go a h e a d . . .
W : N o , I w a s n ' t g o i n g to try to, y o u k n o w , get C o n n i e i n v o l v e d

too far a h e a d of t i m e , b e c a u s e t h e n , w e m i g h t h a v e the b e a n s
s p i l l e d . I w a s j u s t t r y i n g to h a n g loose u n t i l w e k i n d of got
s o m e t h i n g set, a n d of c o u r s e , n o t h i n g got set, a n d s o . . . we
n e v e r r e a l l y w e n t that far.
T H : W e w e r e t h i n k i n g w h a t a n i c e gift for y o u r D a d for C h r i s t m a s
. . . is this video.
W : Yeah.
H: Yeah.
TH: A n d s o , I g u e s s , the b e s t t h i n g for u s to d o i s to go a h e a d a n d

a s k J a m e s to c o m e i n s o h e c a n talk w i t h y o u a little bit. H e
b r o u g h t h i s s o n Joey, s o t h a t ' l l b e k i n d of c o o l .
W: W e l l . . . I w i s h I ' d c h a n g e d clothes n o w .
TH: J a m e s J a c k s o n , I w a n t y o u to m e e t H a l , W a n d a , a n d C o n n i e .
W : N i c e to m e e t y o u .
J: I h a v e Joey o v e r h e r e . W h a t ' s y o u r l a s t n a m e ?
H : Landley.
J: Y e a h ? S o y o u ' v e h e a r d of m e ?
H : O h yeah.
J: I played from'73 to'81.

H : U h - h u h . Y o u p l a y e d w h e n they h a d J o h n S m i t h a n d u h . . . let
m e t h i n k w h o a l l w a s there. B i l l B r y a n t . . .
J: Yeah.
H : A l l those o l d - t i m e r s .
J: Rob H a l l . . .
H : N e d Jones . . .
J: Jones...
H : U h , w h o w a s the c e n t e r ?
J: U h . . . Jessie R o b e r t first, a n d t h e n A l K r a m e r took o v e r . . .

S a n d e r s f r o m G e o r g i a , I t h i n k . . . h e w a s a n o t h e r c e n t e r that
p l a y e d d u r i n g t h a t . . . j u s t before I left.
W: W h e r e d i d y o u p l a y college b a l l ?
J: Arkansas.
W: O h , okay. N o w o n d e r you're a r o u n d here then.
J: So y o u w o r k w i t h l a w enforcement.
W: B o t h of u s d o . I j u s t got off f r o m w o r k .
J: W h a f s y o u r last n a m e ?
H: Landley
J: O h , okay.
C: M y last n a m e i s N e w l y .
W: T h a f s right.
J: Y o u r last n a m e is N e w l y ?
W: Y e a h , s h e ' s f r o m m y first m a r r i a g e , so s h e h a s a different l a s t

name.
J: H e y , t h i s i s m y s e c o n d o n e h e r e . I h a d three c h i l d r e n b y m y
first w i f e , a n d a s o n n o w w h o i s p r o b a b l y a y e a r o l d e r t h a n
h e r . H e w e a r s g l a s s e s too.
W: Really?
J: So, it a i n ' t e a s y .
W: D o e s h e g o t h r o u g h t h e m a s fast a s this o n e d o e s ?
J: No.
W: O h r e a l l y ? B o y , s h e c a n go t h r o u g h t h e m i n a h u r r y . H e r s a r e
s o s t r e t c h e d r i g h t n o w i t ' s terrible.
J: H e u h , t a k e s p r e t t y g o o d c a r e of h i s g l a s s e s . H e h a s t h i s s t r a p
that m a k e s h i m able to take c a r e of t h e m .
W: Y e a h , m a y b e so. Y e a h . S h e l e a v e s t h e m l a y i n g a r o u n d too
much.
H: T h e d o g got a h o l d of t h e m .
W: Y e a h , the d o g c h e w e d o n o n e of h e r e a r p i e c e s a n d a l l that.
ACT II: SETTING UP THE GAME
TH: W h a t I w a s t h i n k i n g y o u c o u l d d o i s tell t h e m a s t o r y a b o u t
m a y b e t e a m w o r k , a n d t h e n if w e c a n get t h e m to d e v e l o p a
THE FAMILY FOOTBALL GAME 57
p l a y , c o u l d y o u go b a c k b e h i n d the m i r r o r w i t h m e , a n d w e ' l l
w a t c h t h e m o n c a m e r a a s t h e y p u t together s o m e p l a y s . A n d if
t h e y r u n i n t o a j a m , y o u c o u l d c o m e b a c k i n a n d h e l p t h e m get
the p l a y straight, a n d t h e n they w i l l g o o u t a n d d o it. W h a t d o
y o u think, C o a c h ?
J: N o t h i n g r e a l l y c o m e s to m i n d , b e c a u s e I ' m n o t m u c h of a
story-teller . . . but they k n o w , alright, first-hand about team
w o r k i n the t y p e of jobs y o u h a v e . . .
H: Uh-huh.
TH: . . . I d o n ' t c a r e w h a t y o u d o , it i n v o l v e s t e a m w o r k . E v e r y b o d y
c a n ' t b e the h e a d c o a c h , e v e n i n a f a m i l y . I t h o u g h t I w a s t h e
h e a d c o a c h for y e a r s , a n d I p r o b a b l y w a s n ' t . B u t everybody
c a n be a m e m b e r of the t e a m . E v e r y b o d y ' s got to b e a m e m b e r
of the t e a m . A n d y o u n e e d that f e e d b a c k f r o m everybody,
f r o m c e n t e r to the o t h e r s , to . . . s o m e b o d y h a s to take the
i n i t i a t i v e , o r the r e s p o n s i b i l i t y , of b e i n g i n c h a r g e , y o u k n o w ,
b u t that m a y n o t b e 5 0 / 5 0 i n s o m e f a m i l i e s . I t m a y b e s o m e
thing . . .
H : A n d i n s o m e i t ' s g o i n g to b e a little bit m o r e t h a n o t h e r s . . .

J: A little m o r e . . . y e a h .
W : T h a f s true. I t m a k e s a lot of s e n s e .
J: Y o u h a v e to a c c e p t that, a n d y o u h a v e to k n o w w h o that
p e r s o n i s , a n d . . . y o u j u s t c a n ' t . . . e v e r y o n e h a s to b e s u p
p o r t i v e . Y o u s a i d they [the t h e r a p y t e a m ] h a d s o m e t h i n g i n
mind...
T H : N o , n o . . . W h a t I w a s t h i n k i n g w a s that t h e y m i g h t w o r k o n
p u t t i n g a p l a y together, m a y b e . . . a n d w e c a n w a t c h t h e m o n
the c a m e r a w h i l e t h e y w o r k at it, a s a f a m i l y , a n d t h e n if they
get s t u c k , y o u c a n c o m e b a c k i n a n d h e l p t h e m out.
J: I ' l l tell y o u . . . Y o u c a n d o t h a t . . . B u t w h a t I h a d i n m i n d i s
. . . if y o u p l a y flag football, I b r o u g h t t h i s little flag, a n d s i n c e
i f s j u s t three of y o u . . . a n d y o u j u s t got off w o r k .
W : Y e a h , a n d t h i s t i m e I s a i d , " A h , I d o n ' t n e e d to c h a n g e c l o t h e s
l i k e I d i d l a s t t i m e " . So, y e a h . . . I w i s h I h a d c h a n g e d c l o t h e s
n o w . I ' l l b e the q u a r t e r b a c k . Y o u d o n ' t h a v e to r u n s o m u c h .
T H : W e c o u l d get Joey to w o r k out.
J: I b r o u g h t h i m , y e a h . . . U h . . . u h . . . that's n o t a g o o d i d e a
either. I ' l l tell y o u , m a y b e a c o u p l e of w a r m - u p c a l i s t h e n i c s .
And uh ...
W : L i k e d o a p r e - g a m e w a r m - u p a n d a l l that? T h a t s o u n d s g o o d .
J: N o t e n o u g h to tire a n y b o d y out.
W : P l e a s e , no. I ' m a n a e m i c right n o w a n y w a y .
J: Just a little s t r e t c h i n g a n d t h e n w e ' l l p l a y football. Y o u k n o w ,

w e ' l l set that u p . U n l e s s y o u h a d s o m e t h i n g that y o u w a n t e d
to d o .
H : N o , no. W e h a d n ' t . . . I ' m listening.
W : N o , not r e a l l y . I h a d j u s t r u n s o m e little t h o u g h t s t h r o u g h m y
m i n d . . . but nothing major.
T H : T h a t w a s B r a d o n the p h o n e . H e s a i d that h e w o u l d l i k e for u s

to g o o u t a n d p l a y s o m e flag football, b u t before w e go, l e t ' s let
t h e m take a c o u p l e of m i n u t e s a n d see if t h e y c a n c o m e u p
w i t h one or two simple plays . . . by themselves, a n d then as
s o o n a s t h e y ' v e got t h a t . . . y o u c a n take t h e m o u t , l e a d t h e m
t h r o u g h the c a l i s t h e n i c s , a n d h a v e a little g a m e . A l r i g h t ?
J: Alright.
Comment: T h e t h e r a p i s t s a n d the c o a c h [James] l e a v e the r o o m to

o b s e r v e a s H a l , W a n d a , a n d C o n n i e w o r k together.
W : S o u n d s g o o d . O k a y , w e h a v e to d e c i d e w h o ' s g o i n g to p l a y
w h a t position.
H : A l r i g h t . I s u g g e s t this . . .
W : Okay, what?
H : I ' m g o i n g to a l w a y s be the q u a r t e r b a c k .
W : You?
H : I ' m k i d d i n g . I ' l l let y o u be the q u a r t e r b a c k .
W : Okay.
H : I ' l l be the center, a n d s h e c a n b e the r u n n i n g b a c k / r e c e i v e r .
W : D i d y o u h e a r that? Y o u ' r e g o i n g to be the r u n n i n g b a c k /
receiver.
H: Y o u ' r e g o i n g to be the o n e that catches the b a l l .
W: D o y o u k n o w w h a t that m e a n s ?
C: O k a y . Y e a h , I ' l l catch it.
Comment: T h e f a m i l y s p e n t a b o u t 10 m i n u t e s c o m i n g u p w i t h s o m e
plays, including a running a n d a passing play. T h e y d r e w diagrams
of the p l a y s a n d d i s c u s s e d t h e m s o that e v e r y o n e u n d e r s t o o d their
r o l e . J a m e s t h e n r e e n t e r e d the r o o m a n d told t h e m h o w i m p r e s s e d
h e w a s w i t h their k n o w l e d g e of the g a m e . H e t h e n l e d t h e m o u t s i d e
to p l a y a g a m e .
ACT III: THE FOOTBALL GAME
J a m e s , the f a m i l y , a n d the entire t h e r a p y t e a m w a l k e d to a field n e x t

to the c l i n i c . T w o p a i r s of therapists j o i n e d a r m s to create g o a l p o s t s
at e a c h e n d of the p l a y i n g field. O n e therapist w a s the g a m e official
a n d another carried a portable video camera. Other team m e m b e r s
s t o o d a l o n g the s i d e - l i n e s a n d c h e e r e d for the t e a m .
J a m e s l e d the f a m i l y t h r o u g h a s e r i e s o f w a r m - u p e x e r c i s e s , a n d
the g a m e official then d e c l a r e d that the g a m e w a s to b e g i n . A s the
f o l l o w i n g t r a n s c r i p t i n d i c a t e s , J a m e s told the f a m i l y t e a m to b e g i n
w i t h the p a s s i n g p l a y they h a d d e s i g n e d .
J: O k a y , C o n n i e t h e y ' r e g o i n g to t h r o w the b a l l . Y o u r D a d d y ' s

g o i n g to t h r o w the b a l l . A l r i g h t . C o m e b a c k , a n d . . .
C : O k a y , (giggling)
W : W h e n I s a y , " G O " , y o u take off . . .
C : Okay.
H : C a n y o u g o u p there w i t h the . . .
J: Alright.
W : Set. H u p o n e , h u p t w o , h u p three . . .
Comment: A t t h i s m o m e n t t h e f a m i l y i n i t i a t e d i t s first p l a y . T h e
m o t h e r t h r e w a n i n c o m p l e t e p a s s to the d a u g h t e r a n d the f a m i l y
d e c i d e d to try the s a m e p l a y a g a i n .
J: U h , y e a h . C o n n i e , d o n ' t g o a s far this t i m e C o n n i e . . .
W : Just g o r i g h t . . . r i g h t o v e r . . . c o m e o v e r this w a y . . . . O k a y ?
R e a d y ? G o . Shift, set, h u p o n e , h u p t w o , h u p three, w o a h ,
w o a h , t u r n a r o u n d a n d stop . . . w a t c h i t . . . alright!!!!
Comment: C o n n i e a l m o s t catches the b a l l a n d the c r o w d c h e e r s .

M o t h e r s h o u t s , " Y e a h , w a y to w i n a g a m e ! Y e a h S a r a h ! " P l a y c o n
tinues:
W : T h i s t i m e , y o u j u s t take off that w a y . . . w e ' v e got four p l a y s

for y o u to c a t c h the b a l l , a n d w h e n I tell y o u I ' m g o i n g to t u r n
a n d I ' m g o i n g to h a n d y o u the b a l l , then y o u start r u n n i n g that
w a y , a n d D a d d y ' s g o i n g to take off a n d r u n that w a y w i t h y o u
to k e e p all the d e f e n s i v e p l a y e r s off of y o u .
C : Okay.
W : A n d t h e n y o u ' r e g o i n g to r u n d o w n there to that g o a l l i n e , a n d

s c o r e . Y o u see the g o a l p o s t s d o w n there. G o a l p o s t s — c o m e to
attention.
Comment: T h e f a m i l y i s d i r e c t i n g the t h e r a p i s t s i n h o w to p a r t i c i p a t e
i n a r e s o u r c e f u l w a y i n the g a m e .
W : ( T o d a u g h t e r ) I ' m j u s t g o i n g to g i v e it to y o u a n d y o u ' r e g o i n g
to r u n t o w a r d s t h e m b e c a u s e t h e y ' r e o u r g o a l p o s t s . T h i s t i m e ,
I ' m j u s t g o i n g to s a y , the first t i m e I s a y , " H u p " , t h a t ' s w h e n
I ' m g o i n g to t u r n a n d g i v e it to y o u . O k a y ? Set, h u p . . .
Comment: C o n n i e g r a b b e d the b a l l a n d r a n a s h a r d a s s h e c o u l d
t o w a r d t h e g o a l p o s t s w i t h the c r o w d y e l l i n g " G o , G o , G o . R u n
C o n n i e ! " W h e n s h e s c o r e d the t o u c h d o w n , e v e r y o n e a p p l a u d e d .
W : W a y to go! I s t h i s a r e a l football g a m e , o r w h a t ? W a y to g o .
Okay. We won!
H : W e w o n ! W e w o n ! D o y o u w a n t to d o it a g a i n ?
W : T h a t w a s it! T h a t w a s s e r i o u s !
C : H e y , i f s D a d d y first. M a m m a , M a m m a . . .
H: M a m m a ' s n o t g o i n g to . . . s h e w a s the c e n t e r o n that o n e .
D: M a m m a , i f s your turn now.
W: O h , i f s m y t u r n to be the r u n n e r n o w , n a h . . . w e ' l l d o that

o n e later. W e ' l l d o that o n e at h o m e .
H: A r e w e g o i n g to r u n a n y m o r e p l a y s ? Y o u h a v e a p l a y for u s ?
D o y o u w a n t to g i v e u s a s p e c i a l p l a y ? O r a r e y o u s a t i s f i e d
with what we're doing.
J: I a m completely satisfied w i t h this team.
W: I a g r e e , it t u r n e d great!
C: C a n I give D a d d y a squeeze hug?
H: Yeah, come on.
Comment: T h e c o n s u l t a n t s u g g e s t e d to the c o a c h a n d f a m i l y that

s i n c e t h i s w a s b e i n g f i l m e d a s a C h r i s t m a s p r e s e n t , it w o u l d b e
g r e a t to h a v e a n o l d - f a s h i o n e d m o v i e e n d i n g . J a m e s w a s a s k e d to
tell the t e a m w h a t h i s c o a c h u s e d to tell the A t l a n t a F a l c o n s after
they w o n a big game. James h a d everyone, family a n d therapists,
j o i n h a n d s a n d h e t h e n s h o u t e d out, " G o o d l u c k , g a n g , l e f s w i n t h i s
t h i n g i n 9 0 ' s ! " E v e r y o n e s h o u t e d a v i c t o r y c r y . J a m e s t u r n e d to
C o n n i e , h a n d e d h e r the g a m e b a l l , s a y i n g " t h i s i s for y o u " . S h e t h e n
a s k e d h i m to s i g n it. F o l l o w i n g h i s s i g n i n g , s h e j u m p e d i n t o h i s
a r m s w i t h a big hug. James threw his towel over his shoulder a n d
w i t h h i s s o n Joey b y h i s s i d e w a l k e d off i n t o the s u n s e t , a l l r e c o r d e d
i n g r a n d H o l l y w o o d style.
AFTER THE GAME:

FOLLOW-UP WITH WANDA AND HAL
A follow-up session with W a n d a a n d H a l w a s conducted several

w e e k s after the football g a m e . T h e t h e r a p e u t i c effort w a s to m a i n
t a i n the r e s o u r c e f u l contexts c o n s t r u c t e d i n p r e v i o u s s e s s i o n s .
ACT I: THE SET-UP
I n the b e g i n n i n g of the s e s s i o n , the t h e r a p i s t c o m m e n t s o n a l l the

professionals w h o h a v e been i n v o l v e d i n helping this family. E a c h
p r o f e s s i o n a l h a s h a d a n o p i n i o n , s o m e t i m e s c o n f l i c t i n g w i t h the
o t h e r s . F o l l o w i n g this brief d i s c u s s i o n , the t h e r a p i s t shifts to i n t r o

d u c i n g the t a p e d F a m i l y F o o t b a l l G a m e a s a m a j o r r e s o u r c e for the
f a m i l y . W i t h this r e s o u r c e the t h e r a p i s t c a n s u g g e s t that the r e
s o u r c e f u l f a m i l y o n the v i d e o t a p e is not the s a m e f a m i l y d e s c r i b e d
b y other p r o f e s s i o n a l s a s p r o b l e m a t i c , h o p e l e s s , n o n - r e s o u r c e f u l .
TH: U h . . . g l a d to see y o u b a c k .
W: I ' m g l a d to be b a c k . I d o n ' t k n o w a b o u t h i m , b u t I k n o w I a m .
TH: A n d u n . . . w h a t w e s e e m to h a v e h e r e i s a m y s t e r y . . . y o u ' v e
s e e n a lot of p r o f e s s i o n a l s i n the l a s t . . . I d o n ' t k n o w h o w l o n g
for s u r e i f s b e e n . . . at least t w o p e o p l e at the M e n t a l H e a l t h
C e n t e r , a n d at least o n e p s y c h i a t r i s t . U h , the t h e r a p i s t that
r e f e r r e d y o u h e r e . A n d m e . T h a f s at least five that I ' m a w a r e
of. T h e r e m a y b e m o r e . Y o u h a v e a p r i v a t e d o c t o r w h o ' s g i v
i n g y o u m e d i c a t i o n for y o u r d e p r e s s i o n . Six. Y o u ' v e got y o u r
mother i n v o l v e d — s e v e n . Y o u r g r a n d m o t h e r — w h o ' s a profes
s i o n a l o r w a s , r e t i r e d — e i g h t . A l l of the o p i n i o n s , a n d p r o b a b l y
all of the v a r y i n g o p i n i o n s a n d this i s p a r t of the m y s t e r y that
w e f i n d o u r s e l v e s c a u g h t i n h e r e , b e c a u s e , y o u see, o n e of the
f u n n y t h i n g s that w e h a v e , i s w e h a v e a tape I w a n t to s h o w
y o u , of a f a m i l y that i s a lot l i k e y o u . T h e i r d a u g h t e r , the s a m e
age a s y o u r s , t h i s c o u p l e a r e a c t i v e . T h e y a r e a b l e to e n j o y
t h e m s e l v e s w i t h their k i d . Y o u c a n tell that this c h i l d i s a
n o r m a l k i d , a lot of e n e r g y , b u t not o u t of c o n t r o l , n e c e s s a r i l y .
Y o u k n o w , the m o m a n d d a d , t h e y ' r e l i k e a l l m o m s a n d d a d s ,
they differ o n s o m e things, b u t t h e y ' r e b a s i c a l l y together o n
the e s s e n t i a l s . A n d u h , the f u n n y t h i n g is that they l o o k j u s t
l i k e y o u . B u t they d o n ' t s o u n d a n y t h i n g l i k e w h a t y o u ' v e j u s t
d e s c r i b e d . G o s h , I t h i n k I ' v e got the r i g h t tape h e r e . O h , I
k n o w w h e r e this c a m e f r o m . B e c a u s e the f a m i l y o n t h i s t a p e
w a s n o t the f a m i l y y o u just d e s c r i b e d .
W: G o s h , I h a t e w a t c h i n g a n d l i s t e n i n g to m y s e l f . . .

Comment: T h e v i d e o t a p e of the football g a m e w a s p l a y e d a n d t h e
t h e r a p i s t a n d f a m i l y c o m m e n t e d o n w h a t they s a w .
H: Y o u c a n see the h a p p i n e s s too. I n e e d to b e d o i n g a lot of that.
TH: See, this i s a f a m i l y that l o o k s g o o d to m e . W a t c h C o n n i e n o w .
TH: (later) . . . Y o u m i g h t w a n t to w r i t e d o w n h i s n a m e — J a m e s
Jackson.
W: M y D a d d y ' s a l r e a d y s e e n the football w e all s i g n e d .

TH: Oh?
W: A n d C o n n i e r e a l l y e n j o y e d the g a m e , w i t h o u t getting o u t of
c o n t r o l . A lot of time, if w e s h o w h e r attention i n a n y w a y , s h e
w i l l j u s t l o s e it.
H: Y o u c a n ' t d o a n y t h i n g w i t h her. I m e a n , i t ' s l i k e . . .
W: S h e s t a y e d i n c o n t r o l that time. T h a t ' s w h a t the difference i s .

S h e r e a l l y d i d w e l l that d a y .
W: S h e i s a pretty g o o d little p l a y e r . S h e h a d a g o o d time.
TH: T h i s f a m i l y h e r e o n the v i d e o is totally different f r o m the o n e

y o u j u s t d e s c r i b e d to m e .
Comment: T h e t h e r a p i s t e x c u s e s h i m s e l f for d i s c u s s i o n w i t h the

t e a m a n d c o m e s b a c k w i t h the f o l l o w i n g c o m m e n t s .
TH: I g u e s s ten h e a d s are better t h a n o n e . T h e y a r e t h i n k i n g a l o n g

the s a m e l i n e . T h e y a l s o see t w o different f a m i l i e s . I t i s a s
t h o u g h y o u r f a m i l y h a s a split p e r s o n a l i t y . Y o u ' v e g o t the
f a m i l y that feels s p o o k e d . W e d o n ' t k n o w w h a t s p o o k s p e o p l e .
D o n ' t k n o w w h a t sets it off. It c o u l d be a n y n u m b e r of t h i n g s .
B u t the s p o o k e d f a m i l y h a s a p s y c h i a t r i s t for their d a u g h t e r ,
n e e d s a t h e r a p i s t for y o u , h a s a g r a n d m o t h e r w h o i s r e a l l y
i n v o l v e d , to the p o i n t w h e r e it m a k e s it too h a r d for you
[Wanda] to d o y o u r job; the g r e a t - g r a n d m o t h e r that i s i n
there s o m e w h e r e ; the s p e c i a l i s t s at the M e n t a l H e a l t h C e n t e r .
T h e y ' v e got a lot of different t h i n g s g o i n g o n . B u t , i n c o n t r a s t to
this, w e h a v e the f a m i l y that p l a y s t o g e t h e r — t h e f a m i l y that
w a s o n the f i l m . T h e o n e that c o u l d m a k e its o w n p l a y s a n d
c a r r y t h e m out. T h a t c a n h a v e a c h i l d that c a n p l a y b a l l a n d n o t
g o too far. Y o u k n o w ? I t i s s u c h a s t r i k i n g difference b e t w e e n
these t w o f a m i l i e s . U h . . . w e r e a l l y d o n ' t k n o w w h a t s p o o k s
y o u . I t c o u l d be a n y n u m b e r of t h i n g s . B u t a s I r e c a l l f r o m o u r
e a r l i e r c o n v e r s a t i o n s , o n e t h i n g that s p o o k s y o u i s to h a v e s o
m a n y c o o k s i n the k i t c h e n .
Comment: T h e t h e r a p i s t i s a c t u a l l y s p e l l i n g o u t t w o c h o i c e s of c o n
text that face the f a m i l y — a n i m p o v e r i s h e d context a n d a r e s o u r c e
ful context. T h e f o r m e r i s c a l l e d the " s p o o k e d f a m i l y " a n d the latter
i s c a l l e d the " f a m i l y that p l a y s t o g e t h e r " , the f a m i l y that w a s o n the
film.
W: T h a t a n d so m a n y o u t s i d e p r e s s u r e s , r e a l l y , y o u k n o w ?
TH: Y e s , a l l of it. A n d a l l of u s , b e c a u s e I ' m o n e too, a l l of u s
" e x p e r t s " that a r e a l l a l l e g e d to k n o w w h a t t h e y ' r e d o i n g , a n d
t h e y ' r e j u s t s a y i n g different things. I a m n o t s a y i n g a n y t h i n g
n e g a t i v e a b o u t a n y b o d y , b u t there a r e j u s t s o m a n y different
w a y s of l o o k i n g at things. T h e r e i s s u c h a t h i n g a s h a v i n g too
m a n y c o o k s i n the k i t c h e n , i n c l u d i n g g r a n d m a . . . U h , a n d
g r a n d p a for that matter. Y o u k n o w y o u w o r r y a b o u t y o u r
D a d , t h a f s a b i g one. Y o u r b a c k g r o u n d , f r o m y o u r f a m i l y . I
m e a n , a l l those t h i n g s c a n b e p a r t of this s p o o k e d f a m i l y . I n
c o n t r a s t to a f a m i l y that's a t e a m . O n e of the v e r y i n t e r e s t i n g
t h i n g s that J a m e s s a i d a b o u t y o u after y o u left w a s , " I ' m r e a l l y
s t r u c k w i t h the fact that these p e o p l e k n o w h o w to p l a y a s a
t e a m . " I ' m not m a k i n g that u p , I c a n s h o w y o u the tape, b e
c a u s e I t a p e d h i m s a y i n g that. I ' m s t r u c k b y that too. S o it
s e e m s to m e that o u r job i s to h e l p y o u get i n t o u c h w i t h that,
r a t h e r t h a n the s p o o k e d m o d e l . N o w I t h i n k at t i m e s i n y o u r
p a s t , y o u ' v e b e e n a t e a m . T h e w a y y o u d e s c r i b e the first t w o
y e a r s of y o u r m a r r i a g e , to m e , s o u n d s l i k e a t e a m . U h , t h i s
t h r e e - w e e k p e r i o d y o u h a d less t h a n a m o n t h ago, or s o m e
t h i n g l i k e that, y o u w e r e w o r k i n g a s a t e a m . So, s o m e of the
t h i n g s that c o u l d h a v e s p u n y o u off, m a d e y o u s p o o k , w e r e
y o u w o r r y i n g a b o u t y o u r D a d ' s h e a l t h , or h i m n o t d o i n g s o
well, his coaching?—that makes y o u and your M o m nervous.
T h a t w o u l d b e n a t u r a l . A m o n g s t m a n y other t h i n g s . N o t e v e n
c o u n t i n g the stress of b e i n g a c o p . I w a s a c o p for five y e a r s . I
k n o w that s t r e s s . W e ' r e not g o i n g to e v e n a d d that. B u t t h a f s
a l w a y s there. P l u s y o u g u y s h a v e b e e n t a l k i n g a b o u t m o v i n g
to D a l l a s , I ' m n o t m a k i n g that u p a m I ?
W: N o , i f s i n the b a c k g r o u n d .
TH: See, these a r e a l l different t h i n g s that c a n k e e p y o u f r o m b e i n g

a t e a m . W e k n o w there i s n o t h i n g w r o n g w i t h the f a m i l y that
p l a y s together. W e t h i n k y o u g u y s h a v e it together. Y o u ' r e a n
a i l - A m e r i c a n f a m i l y . I c o u l d s h o w this f i l m to a n y b o d y , a s a
d e m o n s t r a t i o n of a n o r m a l f a m i l y . B u t the s p o o k e d family
n e e d s m e d i c i n e . T h a t ' s a l l there is to it. T h e y n e e d m e d i c i n e .
A n d w e ' v e got s o m e m e d i c i n e that I w a n t y o u to try for a
m o n t h . T h e n I w a n t y o u to c o m e b a c k s o I c a n see y o u a g a i n .
H e r e i s the m e d i c i n e . A n y t i m e that y o u feel l i k e y o u ' r e at the
e n d of y o u r r o p e w i t h e a c h other o r w i t h y o u r C o n n i e , o r w i t h
y o u r w e l l - i n t e n t i o n e d m o t h e r , y o u a r e to get together w i t h
C o n n i e , a n d g o to the t e l e v i s i o n a n d w a t c h the tape of the
f a m i l y that w a s o u t there p l a y i n g a s a t e a m . T h a t w i l l be y o u r
medicine.
Comment: T h e t h e r a p i s t i s b e g i n n i n g to m o v e t o w a r d s A c t I I I w h e r e
a m e d i c i n e c a n be prescribed.
W: T o remind us?
TH: T o r e m i n d y o u that y o u h a v e t h i s c a p a c i t y . See, I d o n ' t t h i n k

y o u r c h i l d i s at the p o i n t of n o r e t u r n . S h e ' s 8 y e a r s o l d . G o o d
n e s s g r a c i o u s . P r o b a b l y t h e r e ' s s o m e difficulties, b u t t h i s s i t u
a t i o n i s n o t u n s a l v a g e a b l e . A n d let that b e a m e d i c i n e , w h e n
t h i n g s a r e to the p o i n t w h e r e y o u ' r e r e a l l y w o n d e r i n g i f y o u ' r e
g o i n g to m a k e it. C o m e together a s a t e a m , a n d w a t c h the t e a m
f i l m . N o w , w e w i l l w a n t to g i v e it to y o u r D a d , b u t w e t h i n k
i f s r e a l i m p o r t a n t that y o u k e e p this c o p y . I ' l l m a k e you
a n o t h e r c o p y for y o u r father. O k a y ? B u t w e r e a l l y t h i n k that
y o u n e e d the m e d i c i n e a s m u c h a s o r m o r e t h a n y o u r father.
Right now.
W: S o u n d s g o o d to m e .
H: S o u n d s g o o d to m e too.
W: S i m p l e too. I f s n o t g o i n g to b e a lot of extra w o r k .
TH: D o y o u see the t w o different f a m i l i e s ? B e c a u s e i t ' s s o s t r i k i n g .
A n d w h e n y o u w o r k together w e l l , m a n , y o u d o it w e l l . W h i c h
j u s t tells u s that y o u h a v e the c a p a c i t y . Y o u h a v e t h i s a b i l i t y .
B u t w h e n y o u ' r e s p o o k e d , y o u get a little a f r a i d . Y o u start

q u e s t i o n i n g a n y little t h i n g that h a p p e n s , it gets b l o w n a l l o u t
of p r o p o r t i o n .
W: I t s e e m s t o . . . k i n d of.
TH: Y e a h , it s e e m s to g r o w w h e n it gets g o i n g . . .
H : N o w , I w o n d e r s o m e t i m e s , i t ' s l i k e I w a s t e l l i n g y o u that I
d i d n ' t e x p e r i e n c e d e p r e s s i o n , b u t I ' v e told h e r i n the p a s t , i f s
b e e n for three m o n t h s , I ' v e b e e n i n d e p r e s s i o n a n d d i d n ' t e v e n
r e c o g n i z e it u n t i l I started r e a d i n g s o m e t h i n g s a b o u t d e p r e s
s i o n . I ' v e lost interest i n a lot o f t h i n g s , a n d s h e ' s s e e n it, b u t I
d i d n ' t notice it.
W: I t h a s b e e n a lot l o n g e r t h a n three m o n t h s t h o u g h .
TH: T h a t w a s p a r t of y o u r letter to h i m ?
W : N o , not r e a l l y . T h i s letter h a d t h i n g s to d o w i t h j u s t m y feel

i n g s a b o u t things.
H : See, the t h i n g s that got triggered f r o m the letter, got t r i g g e r e d ,

b e c a u s e I h a d s o m e t h i n g s that I w a n t e d to talk to h e r a b o u t a
s i t u a t i o n that c a m e u p . . .
Comment: T h e c o n s u l t a n t e n t e r e d the t h e r a p y r o o m w i t h a m e s s a g e .
CN: I j u s t w a n t e d to s a y that this i s the s p o o k e d f a m i l y h e r e . Y o u

r e a d that stuff a n d y o u get s p o o k e d .
Comment: F r o m this p o i n t o n , a n y i m p o v e r i s h e d d e s c r i p t i o n c a n
b e a t t r i b u t e d to t h e i m p o v e r i s h e d context, that i s , t h e s p o o k e d
family.
H: Uh-huh.
CN: Y o u talk to c e r t a i n p e o p l e a n d y o u g e t s p o o k e d . Y o u t h i n k
a b o u t c e r t a i n t h i n g s , y o u k n o w , c e r t a i n t i m e s i n life, t h i n g s
that a r e i r r i t a t i n g , a n d y o u t h i n k a b o u t t h e m too m u c h a n d
m a g n i f y t h e m , they s p o o k y o u a n d that s p o o k s t h e other
p e r s o n . T h e n e v e r y b o d y gets s p o o k e d a n d i t ' s o u t o f c o n t r o l .
T h a t ' s the s p o o k e d family.
TH: . . . a n d y o u r d a u g h t e r p i c k s it a l l u p .
CN: A n d t h e n s h e gets s p o o k e d . T h e n t h e r e ' s t h i s o t h e r f a m i l y w h o

is s u p e r b o w l material. I m e a n y o u h a v e a m a n [James], w h o
m y s o n looked u p i n the record books, w h o s a i d , " N o w this
f a m i l y i s a t e a m " . A n d I t h i n k y o u g a v e h i m the best, a n d I
t h i n k i t ' s t i m e for y o u to start t a k i n g y o u r m e d i c i n e .
TH: Y o u h a v e j u s t d e s c r i b e d a n e x a m p l e of w h a t w h a t w e a r e t a l k
i n g a b o u t . I m e a n , I c a n g i v e y o u b o o k s to r e a d w h e r e if y o u
read them, they w o u l d sure scare y o u — a n d be very c o n v i n c
ing, about depression a n d whatever. S u c h a n idea feeds o n
itself.
S o , w h a t w e w o u l d l i k e y o u to d o i s w h e n t h i n g s get a little
f r a y e d at the e d g e s , either of y o u , w i t h the c h i l d o r the m o m ,
o r w i t h e a c h o t h e r , y o u r s e l f , y o u k n o w , t h e m e d i c i n e i s to
w a t c h the m o v i e . A l w a y s i n the p a s t , s i n c e y o u ' v e b e e n h a v i n g
difficulties, t h i n g s — n u m e r o u s different t h i n g s — w i l l h a p p e n
that w i l l get y o u a little s p o o k e d o r s k i t t i s h , t h e m o r e w e talk,
the m o r e , t h e r i c h e r the v a r i e t y of t h i n g s that h a v e h a p p e n e d ,
that c o u l d . . . a n y o n e of w h i c h c o u l d s i n k a f a m i l y . You
k n o w ? Whether y o u think about y o u r relationship w i t h y o u r
M o m , or y o u r relationship w i t h y o u r M o m a n d D a d a n d y o u r
brother, a n d y o u r M o m ' s relationship w i t h her mother a n d
h e r b r o t h e r , a l o n e — a n y o n e of t h o s e w o u l d b e e n o u g h . . .
W: It is a fascinating combination!
TH: O h G o d . A n d then y o u r c h i l d comes along a n d is caught right

s m a c k i n t h e m i d d l e of the s a m e k i n d of t h i n g , a n d t h e n y o u
[ H a l ] c o m e o u t of y o u r first m a r r i a g e , o u t of t h e b l u e y o u a r e
t o l d b y y o u r w i f e that s h e d o e s n ' t w a n t to b e m a r r i e d to y o u
a n y m o r e . A n d y o u get s p o o k e d — G o d k n o w s — t h a t would
m a k e y o u spooked. Y o u r relationship with y o u r Pop a n d y o u r
f a m i l y , a n y p a r t of that, the j o b — I ' m n o t g o i n g to g o i n t o a l l of
that, b u t b o t h of y o u h a v e h i g h - s t r e s s jobs. I f e i t h e r o n e of y o u
h a d that job, it w o u l d b e e n o u g h , b u t y o u h a v e a l l these t h i n g s
that c a n h a p p e n , that h a v e h a p p e n e d , a n d w h a t , i n a d d i t i o n to
b e i n g s p o o k e d , it h a s b e e n that w h e n y o u got s p o o k e d , y o u
e n d e d u p g o i n g a n d t a l k i n g to s o m e b o d y to get h e l p . I t started
i n y o u r f a m i l y , i n i t i a l l y , b u t t h e n the p r o f e s s i o n a l s after that
a c c i d e n t a l l y , n o t i n t e n t i o n a l l y I ' m s u r e , i n s t e a d of h e l p i n g y o u
c a l m t h i n g s , s p o o k e d y o u e v e n m o r e . I n effect, y o u got m o r e
s p o o k e d . W h e n y o u ' v e three o r four p r o f e s s i o n a l s t r y i n g to
h e l p , m e i n c l u d e d , w h o a c c i d e n t a l l y , i n t r y i n g to h e l p y o u ,
s p o o k y o u m o r e . . . . t h i n g s c a n r e a l l y b e g i n to l o o k . . .
H: I t c a n get petty bleak.
TH: B e a u t i f u l l y s a i d — p r e t t y b l e a k . I t c a n c l o u d y o u r a b i l i t y to see
the fact that y o u c a n be a h a p p y f a m i l y . Y o u c a n b e a f a m i l y
that w o r k s together w e l l , l i k e it i s o n that f i l m . T h a f s w h y
the m e d i c i n e i s v e r y i m p o r t a n t this t i m e , for the n e x t m o n t h .
W h e n y o u get s p o o k e d , a n d t h i n g s w i l l h a p p e n . . . y o u k n o w
t h i n g s h a p p e n — t h a f s life. T h i n g s a r e g o i n g to o c c u r that w i l l
r e a l l y rattle y o u r cage. A n d then h a v i n g a v e r y r a m b u n c t i o u s
c h i l d w h i c h w e failed to m e n t i o n . H o w c a n I forget C o n n i e ?
Before g o i n g to a p r o f e s s i o n a l , the first t h i n g y o u n e e d to d o i s
r a l l y y o u r t e a m . T h a t ' s w h a t w e w a n t y o u to try. G e t together
a n d w a t c h y o u r film. T h a f s y o u r medicine. T o r e m i n d y o u ,
a n d i f s v e r y i m p o r t a n t to k e e p r e m i n d i n g y o u r s e l f , t h a t y o u
c a n b e a t e a m , i n the m i d s t of a l l t h i s c r a z y life.
H : T h a t i s w h a t I w a s a b o u t to a s k y o u . If o n e of u s gets s p o o k e d ,
s o to s a y , d o w e say, " H e y , I ' m s p o o k e d a n d e v e r y b o d y get
together a n d w a t c h the f i l m ? "
T H : Y o u k n o w w h a t t h i s s o u n d s l i k e ? T h i s s o u n d s l i k e a d e c i s i o n
y o u r t e a m n e e d s to m a k e . N o t m e . B e c a u s e I ' m t r y i n g to let
y o u g u y s b e the p r o f e s s i o n a l s for y o u r s e l f for a w h i l e . L e t u s
p r o f e s s i o n a l s b a c k a w a y for a little bit. Y o u g u y s u s e y o u r o w n
m e d i c i n e . Y o u k n o w w h a t to d o . Y o u c a n m a k e these d e c i
s i o n s . O k a y ? I r e a l l y look f o r w a r d to s e e i n g y o u i n a m o n t h o r
so.
CASE FOLLOW-UP
I n the s i x - m o n t h p e r i o d f o l l o w i n g this s e s s i o n s e v e r a l follow-up
i n t e r v i e w s w e r e c o n d u c t e d w i t h the f a m i l y . T h e d a u g h t e r , C o n n i e ,
has i m p r o v e d i n conduct both at h o m e a n d i n school, a n d her grades
h a v e c o n t i n u e d to i m p r o v e . W a n d a c o n t i n u e s to r e p o r t a d r a m a t i c
i m p r o v e m e n t i n h e r r e l a t i o n s h i p w i t h h e r m o t h e r a n d father a n d
r e c e i v e d a p r o m o t i o n at w o r k . T h e r a p y w a s d i s c o n t i n u e d w i t h t h e
u n d e r s t a n d i n g t h e f a m i l y c a n r e t u r n for a c h e c k - u p if t h e y feel it
n e c e s s a r y to d o s o . T h e football g a m e v i d e o , a c o p y of w h i c h w a s
g i v e n to W a n d a ' s father a s a gift, c o n t i n u e s to be a r e s o u r c e for
them.
CHAPTER SIX
A history w i t h voodoo:
follow-up w i t h James and Mary
u r i n g the s e s s i o n j u s t d e s c r i b e d , the t h e r a p y t e a m , w i t h
James's son observing, openly expressed h o w skilfully
M ... *r J a m e s h a d p r o c e e d e d to c o n n e c t t h e r a p e u t i c a l l y w i t h t h e
family, a n d they repeatedly c o m m e n t e d a m o n g themselves about
J a m e s ' s n a t u r a l t h e r a p e u t i c abilities. A s h e c o n t i n u e d w o r k i n g w i t h
the f a m i l y , o n e o b s e r v e r c o m m e n t e d , " I f s o m e o n e w e r e w a t c h i n g a
tape of t h i s w i t h o u t k n o w i n g a n y b a c k g r o u n d , t h e y w o u l d t h i n k h e
w a s a superb therapist".
F o l l o w i n g the football g a m e there w e r e m a n y unanticipated
p o s i t i v e a c c o u n t s of J a m e s ' s c o n d u c t w i t h h i s o w n f a m i l y . H e w a s
perceived as h a v i n g strength a n d leadership. M a r y described their
son Joey as expressing genuine admiration i n w a y s he never h a d
before. I n this s e s s i o n w i t h J a m e s a n d M a r y , J a m e s w a s m o r e v o c a l
a n d carried himself w i t h noticeably more dignity.
T h e t h e r a p i s t a n d the t e a m w e r e s u r p r i s e d b y a r e v e l a t i o n f r o m
J a m e s a n d M a r y a b o u t the h i s t o r y of h i s first w i f e ' s ( S a n d y ) i n v o l v e
m e n t i n the p r a c t i c e of v o o d o o . T h i s i n c l u d e d a n a c c o u n t of t h e i r
s e e k i n g s p i r i t u a l h e l p to b r e a k a n y " h e x " S a n d y o r h e r f a m i l y h a d
p u t o n t h e m . W h a t the t h e r a p i s t h a d n o t p r e v i o u s l y r e a l i z e d w a s
71
that t h e r a p y h a d e n t e r e d a r e s o u r c e f u l context that w a s c o n g r u e n t

w i t h the f a m i l y ' s p r e v i o u s h i s t o r y .
ACT I: THE SET-UP
TH: I w a s t e l l i n g B r a d a b o u t o u r last s e s s i o n , the l a s t t i m e we

talked, a n d h e w a s very interested i n w h a t y o u h a d been tell
i n g m e a b o u t that t i m e , a l o n g t i m e a g o , w h e n y o u w e r e j u s t
h a v i n g p r o b l e m s , a n d y o u h a d f o u n d o u t that S a n d y w a s i n
v o l v e d i n witchcraft, or voodoo, or whatever. I don't r e m e m
ber. A n d y o u [ M a r y ] w e n t w i t h h i s [James] m o t h e r a n d father
to H o u s t o n to talk to s o m e b o d y . H e w a s v e r y i n t e r e s t e d a b o u t
that. C o u l d y o u j u s t g i v e m e a b r i e f r e t e l l i n g of that s t o r y s o h e
c o u l d h e a r it f r o m y o u r a t h e r t h a n m y t r y i n g to r e m e m b e r
what y o u said?
J: M a r y a n d m y m o t h e r a n d father w e n t to H o u s t o n . S h e t o l d m e
w h e n , I g u e s s pretty m u c h r i g h t a w a y after t h e y h a d g o n e
o v e r there, b u t I d i d n ' t k n o w w h a t w a s g o i n g o n . I d i d n ' t
f o l l o w u p o n it. I d i d n ' t a s k h e r a n y t h i n g a b o u t it. N o w , a l l t h i s
t i m e i s p a s s i n g , a n d it d a w n e d o n m e .
T H : Y e a h , y e a h . Y o u r e m e m b e r e d it. W h a t p r o m p t e d y o u to g o
with his M o m and Dad?
M : B e c a u s e it w a s i n the c o m m u n i t y , y o u k n o w , f r o m o l d f r i e n d s
of the f a m i l y , they k n e w the f a m i l y f r o m w a y b a c k , that w a s
s o m e of the t h i n g s that h e r g r a n d m o t h e r . . .
TH: H e r grandmother? Sandy's grandmother?
M: U h - h u h . H e r g r a n d m o t h e r i s the o n e w h o r e a r e d h e r .
TH: I see.
M: And s o s h e h a d a lot of c o n t r o l o v e r h e r . I t w a s being

r u m o u r e d that w a s w h a t w a s g o i n g o n i n t h e i r s i t u a t i o n
TH: I n their?
M: James and Sandy.
TH: O k a y . That w a s going on—that somehow grandma, as she h a d
c o n t r o l l e d S a n d y , S a n d y w a s t r y i n g to c o n t r o l
M: U h - h u h . H i m also.
TH: O k a y . I got y o u .
A HISTORY WITH VOODOO 73
M : A n d s h e w a s n o t e d for c o n t r o l l i n g h e r h u s b a n d . A n d J a m e s ' s
m o t h e r a n d father w e r e a w a r e of the s i t u a t i o n , p l u s t h e y h a d
i n f o r m e d m e , t h e y h a d a d v i s e d J a m e s , b e c a u s e of the lifestyle
a n d the t h i n g s that they k n e w a b o u t the f a m i l y , the g r a n d
m o t h e r a n d a l l , f r o m y e a r s b a c k , not to get i n t o the f a m i l y .
That he w o u l d be "eatup". A n d I think t h a f s one reason
h e w a s m a d at h i s m o t h e r , w a s b e c a u s e s h e c a l l e d it. N o t b e
a b l e to h a n d l e the t y p e of s i t u a t i o n . S o , m y c o u s i n o v e r i n the
H o u s t o n area a n d I are v e r y close. So w e w e r e talking about
the s i t u a t i o n , a n d s h e k n e w this l a d y o v e r t h e r e that s h e felt
l i k e f r o m k n o w i n g h e r that s h e c o u l d s i g h t o n e o f these t h i n g s
h a d t a k e n p l a c e . S o s h e d i d . S h e t a l k e d to the l a d y a n d the l a d y
g a v e m e a c a l l . A n d s h e a s k e d m e to s e n d h e r a q u a r t e r i n t h e
m a i l . T o h o l d i t i n m y h a n d a n d s e n d it to h e r , a n d t h e n t h a f s
w h e n s h e c a l l e d m e . A n d u h , s h e a s k e d m e to c o m e o v e r t h e r e .
A n d s h e told m e to b e c a r e f u l , b e c a u s e S a n d y w a s t r y i n g to d o
the s a m e t h i n g to m e , b e c a u s e J a m e s w a s d e f i n i t e l y u n d e r h e r
power.
TH: G o s h , thafs amazing. So y o u went over with his m o m a n d

d a d , a n d s h e t o l d y o u to b e c a r e f u l , a n d o n c e y o u got t h e r e ,
what did she advise you?
M : W e l l , s h e t o l d m e that J a m e s d i d n ' t n e e d to b e a n y w h e r e n e a r
S a n d y . S h e d i d n ' t n e e d to h a v e a n y t h i n g to d o w i t h h i s f o o d ,
a n y t y p e of h i s p o s s e s s i o n s , a n y t h i n g . A s l o n g a s s h e w a s . . .
Comment: H e r e w e f i n d s i m i l a r a d v i c e to w h a t the t h e r a p i s t h a d
g i v e n r e g a r d i n g b r e a k i n g the s p e l l .
T H : L i k e a b e d r o o m set?
M: A s l o n g as (everybody starts l a u g h i n g ) . . .
TH: G o a h e a d . I d i d n ' t m e a n to i n t e r r u p t y o u .
M : A s l o n g a s s h e w a s n e a r b y , a n d h e w a s c l o s e to h e r , s h e w o u l d
b e i n full c o n t r o l of h i s life. H e w o u l d . . . S h e w a n t e d to s a y
that h i s s i c k n e s s , it a p p e a r e d l i k e that, b u t it w a s n ' t a r e a l l y
mental condition.
T H : M a n , this j u s t b l o w s m y m i n d . O k a y , s o w h a t d i d y o u d o w i t h
that k n o w l e d g e ?
M: I told h i m a b o u t it. A n d s h e a s k e d m e to g o to N e w O r l e a n s . I
t h o u g h t it w a s s i l l y , b u t I d i d it.
TH: W h y N e w Orleans?
M: M a r i e L a v e a u x , the f a m o u s v o o d o o q u e e n , i s b u r i e d t h e r e . F o r
b o t h of u s to go.
J: I w e n t w i t h her.
TH: T o g o to M a r i e L a v e a u x ?
J: No, no . . .
M: S h e ' s b e e n d e a d for y e a r s . T o go to h e r g r a v e . A n d t o u c h h e r
t o m b . A n d J a m e s , h e w a s s u p p o s e d to m a r k s o m e t h i n g o n h e r
t o m b , b u t h e w a s n o t s u p p o s e d to go b a c k n e a r S a n d y , b u t h e
did.
TH: A s a w a y of b r e a k i n g the s p e l l . B e c a u s e the w o m a n w a s ...

her magic w a s so strong . . . her voodoo queen. There's a song
a b o u t h e r . L i s t e n , I n e e d to a s k y o u a q u e s t i o n . A r e you
a c t i v e l y i n v o l v e d i n r e l i g i o n , o r d o y o u go to c h u r c h i n a n y
way?
M: Yeah.
TH: Which?
M: Protestant.
TH: B o t h of y o u a r e P r o t e s t a n t ? B o t h of y o u g o to c h u r c h r e g u l a r l y ,
fairly regularly, or . . .
M: F o r the last six m o n t h s , w e h a v e n ' t b e e n g o i n g r e g u l a r l i k e w e
should have, y o u know—oversleep.
J: A n d the r e a s o n that i s . . . h a s b e e n a l l a l o n g , W e n d e l , i s that
Joey gets u p e a r l y except o n S u n d a y . A n d I get u p e a r l y , w e l l ,
not e a r l y , b u t w e l l i n t i m e to get e v e r y b o d y u p a n d go to
c h u r c h . Joey will not w a k e u p o n purpose, because he doesn't
w a n t to get u p a n d g o to c h u r c h a n y w a y .
M: A n d h e ' s i n o n it.
J: N o . I t j u s t s e e m s l i k e it. B u t I h a v e n ' t b e e n w a k i n g u p l a t e l y
either. I ' v e j u s t b e e n . . .
TH: H a v e y o u t r i e d u s i n g y o u r faith i n a n y w a y to battle t h i s s i t u a

tion w i t h S a n d y ?
M: Uh-huh.
TH: Tell m e about that

M: W e l l I guess w i t h our minister's assistance from our church,
y o u ' v e p r o b a b l y s e e n s o m e a r t i c l e s i n the p a p e r — t h e R e v e r
e n d L y n n , h e ' s s u p p o s e to b e . . . w e l l . . . b l e s s e d w i t h t h e
healing.
TH: H e has healing power?
M: U h , w e ' v e b e e n a d v i s e d , at l e a s t I h a v e , to p r a y , a n d c e r t a i n
s c r i p t u r e s to r e a d . F o r a n y t h i n g , n o t o n l y for h e r . A n d s o ,
J a m e s h a d m e b e l i e v i n g s o m e of the t h i n g s h e s a y s s o m e t i m e s .
TH: O k a y , so say eleven. N o , more than eleven or twelve years

ago, y o u w e r e g i v e n s o m e a d v i c e f r o m t h i s h e a l e r . I d o n ' t
k n o w w h o s h e w a s , b u t I t h i n k it w a s u t t e r l y s o u n d a d v i c e a n d
if y o u h a d f o l l o w e d it, y o u w o u l d h a v e n e v e r m e t m e , a n d y o u
p r o b a b l y w o u l d h a v e n e v e r e n d e d u p i n that h o s p i t a l . T h e
a d v i c e w a s , a n d t h i s i s a quote, y o u s a i d , " S h e s a i d y o u w e r e
n o t to s e e S a n d y , y o u w e r e n o t to h a v e a n y p o s s e s s i o n s of
S a n d y ' s , n o t h i n g of h e r s , n o f o o d that S a n d y c o o k e d for y o u " .
R i g h t ? A n d u h , t h a t i s i t W e h a v e a g r e e d w i t h this h e a l e r . I n a
w a y , y o u h a v e b e e n p o s s e s s e d b y t h i s t r a n c e o r s p e l l , a n d the
s p e l l ' s g o t to b e b r o k e n before a n y t h i n g else. T h i s h a s got to
c o m e first. N o w , the k i n d of b i c k e r i n g , for l a c k of a better
w o r d , t h a t y o u t w o get i n t o w h e r e M a r y feels l i k e y o u d o n ' t
a s k h e r o p i n i o n of t h i n g s , o r y o u m a y feel l i k e h e ' s n o t a c c e s s i
b l e to y o u , y o u k n o w , w h e n y o u try to talk to h i m , t h a f s p a r t
of this. Y o u a r e f r o z e n b y t h i s t h i n g . . . b y t h i s s p e l l . I n fact, I
d o n ' t w a n t to get i n t o this i n d e p t h , b u t e v e n s o m e of t h e t e a m
a r e of t h e m i n d that this s p e l l i s s o s t r o n g that it h a s e v e n
affected y o u r g o i n g to c h u r c h . Y o u k n o w , M a r y , for a l o n g
t i m e , y o u w e r e the o n e w h o w a s u p o n S u n d a y s a n d y o u w e r e
r e a d y to go. N o w y o u a r e l a y i n g i n the b e d , a n d y o u [ J a m e s ]
a r e u p . I t i s s u c h a p o w e r f u l s p e l l that it h a s got to b e b r o k e n ,
a n d the o n l y w a y y o u ' r e g o i n g to b r e a k this s p e l l i s b y getting
r i d of those p o s s e s s i o n s — w h a t e v e r t h e y h a p p e n to be. F o r
e x a m p l e , n o t o n l y y o u r b e d r o o m set w h i c h , I t h i n k , t h a f s j u s t
got to go. A n d if S a n d y e v e r g a v e y o u — f o r example, you
r e m e m b e r o n e t i m e y o u m e n t i o n e d o l d c l o t h e s that J a m e s
s o m e t i m e s w o u l d p u t o n ? R i g h t ? I ' m s u s p e c t i n g that S a n d y
m i g h t h a v e e v e n h e l p e d h i m b u y those clothes.
M: She probably did.
Comment: G i v e n the f a m i l y h i s t o r y w i t h r e s p e c t to v o o d o o , t h e p r e
v i o u s l y c o n s t r u c t e d r e s o u r c e f u l context i s further m a i n t a i n e d a n d
s o l i d i f i e d . T h i s e n a b l e s the therapist to r e t u r n the c o u p l e to the task
at h a n d : getting r i d of the b e d r o o m f u r n i t u r e .
TH: A n d if i f s a n y t h i n g that S a n d y ' s i n v o l v e d i n b u y i n g , it h a s got

to go. B e c a u s e a s the h e a l e r told y o u l o n g a g o , the w o m a n
f r o m H o u s t o n , s h e s a i d , a s i d e f r o m g o i n g to M a r i e L a v e a u x ' s
g r a v e , s h e s a i d that y o u r a d v i c e i s n o t to see S a n d y , d o n ' t t a k e
a n y t h i n g of S a n d y ' s , n o p o s s e s s i o n s of S a n d y ' s , n o food f r o m
S a n d y . . . I t h i n k t h i s h e a l e r w a s o n to s o m e t h i n g .
J: W e l l y o u m i g h t be. Y o u t h i n k a r o u n d that h o u s e , t h e gifts I

h a v e . . . the p i t c h e r a n d b o w l i n the b e d r o o m , t h e y g a v e u s
that. A n d that t h i n g , y o u k n o w , o n the w a l l , d i d n ' t t h e y g i v e
u s that?
M: T h o s e a r e t h i n g s s u p p o s e d l y that the c h i l d r e n g a v e u s .
TH: T h e c h i l d r e n a r e o n e t h i n g , b u t if it i s f r o m S a n d y , t h a f s a n
e n t i r e l y different t h i n g .
M: H e ' s t a l k i n g a b o u t these t h i n g s that y o u d o n ' t w a n t to p a r t

w i t h . U h , l i k e these o l d c l o t h e s . . .
TH: I ' m t a l k i n g a b o u t a n y t h i n g that S a n d y h a d a h a n d i n p u t t i n g
i n y o u r h a n d s . A n d if y o u ' r e the s o r t that c a n ' t b e a r . . . n o w
t h i s i s m e t a l k i n g , t h i s i s n ' t the t e a m . . . d e s t r o y i n g s o m e t h i n g
t h a f s v a l u a b l e , g i v e it to G o o d w i l l [a c h a r i t y o r g a n i z a t i o n ] .
M y p o i n t i s , to get it o u t of the h o u s e . A n d y o u t w o h a v e got to
do something.
M: W e l l , I t h i n k t h a f s p a r t of the t h i n g w i t h the b e d r o o m set.

TH: I f s n i c e , y e a h . B u t l o o k w h a f s it h a s b e e n d o i n g to y o u for t e n
y e a r s . I a m c o n v i n c e d of this.
J: I agree. I agree.
TH: A n d w h e n y o u get b a c k h o m e a n d if the t w o of y o u c a n ' t c o m e

to a n a g r e e m e n t a b o u t w h a t y o u ' r e g o i n g to d o a b o u t it, t h a f s
just a c o m m e n t about h o w strong this spell is, because I don't
c a r e h o w n i c e i t i s , if i f s c a u s i n g t h i s k i n d of m i s e r y w h e r e y o u
c a n ' t e v e n get together . . .
J: W h a t M a r y ' s s a y i n g , s h e t h i n k s that I ' m too a t t a c h e d to it. I

feel i f s too n i c e to get r i d of. B u t t h a t . . . u n d e r t h e s e c i r c u m
s t a n c e s , t h a f s p r o b a b l y n o t the c a s e . ( T u r n i n g to M a r y ) D o n ' t
y o u feel that I ' m too a t t a c h e d , b e c a u s e i f y o u ' r e t h i n k i n g l i k e
that, j u s t d o n ' t t h i n k l i k e that.
T H : W h a t c o u l d y o u d o to d e m o n s t r a t e that, J a m e s ? T o d e m o n
strate t h a t y o u ' r e n o t that a t t a c h e d .
J: I f I d o l i k e y o u s a i d a l l a l o n g , start h a u l i n g it o u t of there, t h e n
that w o u l d let h e r k n o w h o w I feel a b o u t it.
M : If y o u . . .
J: See, s h e ' s still h u n g u p o n " I f I w o u l d d o t h a f ' .
M : L e t m e tell y o u w h y , W e n d e l . T h e s e o l d c l o t h e s that h e p u l l s
o u t , i n o n e g r o u p , it w a s r i d i c u l o u s . E v e r y t i m e h e w o u l d get
i n a n u p r o a r , h e w o u l d p u t these t h i n g s o n . A n d w h e n w e ' d
s e e these c l o t h e s , w e k n e w .
T H : Y o u see, I w i l l bet y o u m o n e y that those c l o t h e s w e r e b o u g h t

w h e n he w a s with Sandy.
M : Y e a h , they w e r e .
T H : A n d m a n . I ' m t e l l i n g y o u w h a t , the facts a r e the facts, y o u

guys have been in suspended animation.
M : S o m e of t h o s e clothes, I d i d m a n a g e to get t h e m o u t of t h e
h o u s e w h i l e w a s i n the h o s p i t a l — t h e first t i m e h e w e n t to t h e
h o s p i t a l . A n d h e b r i n g s that b a c k to m e . " W h a t h a p p e n e d to
m y c l o t h e s , y o u ' d better go get t h e m . R i g h t n o w ! "
J: T h e s e s h i r t s , i n p a r t i c u l a r , a n d there w e r e s o m e s h o e s a n d
t h i n g s , b u t those s h i r t s w e r e m o r e l i k e e n t e r t a i n e r s h i r t s . L i k e
James Brown, and so on.
TH: Y o u k n o w w h a t B r a d told m e one time? Just a few m i n u t e s

ago, w e w e r e t a l k i n g a b o u t h o w c e r t a i n w i t c h d o c t o r s h a d
s u c h p o w e r s that they w o u l d p u t a h e x o n the front d o o r of a
p e r s o n ' s h o u s e , a n d t h e y w a l k e d t h r o u g h the d o o r the v o o d o o
w o u l d be p u t o n t h e m i n that w a y . S o a s y o u talk a b o u t s h o e s
a n d s t u f f — l o o k , if it w a s S a n d y that g a v e it to y o u , it h a s g o t
to go. L i s t e n , y o u a r e not to see h e r , y o u ' r e n o t to k e e p a n y
p o s s e s s i o n s that s h e g a v e y o u o r j o i n t l y to b o t h of y o u . N o
food, n o t h i n g .
J: Well, uh . . .
CN: I j u s t w a n t to c o m e i n here. M y v o i c e i s w e a k , b u t m y m e s s a g e
is strong.
TH: S h e p r o b a b l y p u t the v o o d o o o n y o u r v o i c e .
CN: T r u e , b u t t h e r e ' s t w o o t h e r s b a c k there [ t e a m m e m b e r s ] w h o

h a v e lost t h e i r v o i c e s too. T h e r e i s o n e t h i n g that w a s s a i d that
i s s o i m p o r t a n t that it k n o c k e d u s o u t of o u r seats a n d I ' m h e r e
j u s t to a d d m y v o i c e to the s t r e n g t h of W e n d e l ' s v o i c e . W h i c h
i s , a n d I d o n ' t k n o w w h e t h e r y o u folks b e l i e v e i n v o o d o o o r if
y o u b e l i e v e i n s p i r i t s or if y o u b e l i e v e i n faith, b u t t h e r e ' s
s o m e t h i n g g o i n g h e r e that a l l o w s p e o p l e f r o m ten y e a r s a g o
a n d o t h e r s n o w to s a y get that stuff out. A n d that it d o e s h a v e
s o m e k i n d of h o l d o n y o u . I t ' s h o l d i n g y o u r life u p a n d right
n o w i s a critical t i m e b e c a u s e w e a l l k n o w w h a f s g o i n g o n , the
s p e l l ' s g o i n g to get tighter. S o n o w i s the t i m e to a c t W e t a l k e d
a b o u t y o u f o l k s g o i n g h o m e r i g h t n o w , r i g h t this m i n u t e , a n d
w h e n y o u get h o m e , w e ' r e g o i n g to sit h e r e a n d w a i t for y o u ,
y o u c a l l u s a n d s a y " w e ' r e h o m e " a n d y o u tell u s w h a t y o u ' r e
g o i n g to d o to get r i d of that stuff r i g h t n o w . T h a t w a y w e c a n
b e h e r e a s a little extra s t r e n g t h . . .
TH: T o h e l p y o u b r e a k this s p e l l .
CN: See, I h a v e a h u n c h , p a r t of that g o i n g to N e w O r l e a n s to s e e

the g r a v e of M a r i e L a v e a u x w a s to g i v e y o u a little s t r e n g t h to
b e a b l e to s a y n o to this hex. Y o u d i d n ' t h a v e the s t r e n g t h ,
b e c a u s e y o u d i d n ' t go, d i d y o u ?
J: W e went.
CN: D i d y o u feel the s t r e n g t h ?
J: W e l l , I ' l l tell y o u . W e w e r e n ' t m a r r i e d t h e n , I w a s k i n d o f . . . I

d o n ' t e v e n k n o w if I w a s d i v o r c e d , w a s I ?
M : No.
J: T h a t w a s k i n d of w h e n e v e r y t h i n g w a s j u s t d r a g g i n g .
CN: T h a t w a s b e c a u s e y o u d i d n ' t b e l i e v e that this t h i n g c o u l d h o l d

y o u for ten y e a r s .
TH: Y o u c o u l d n ' t b e l i e v e it.
CN: See, I t h i n k that y o u n e e d to get it o u t . Y o u h a v e to get it out.

G o h o m e . C o u l d y o u g u y s d o that? C o u l d y o u d o that?
TH: T h e n call us.
CN: W e a r e g o i n g to s t o p e v e r y t h i n g . W e ' r e g o i n g to freeze o u r

t i m e a n d w e ' r e g o i n g to sit h e r e a n d w a i t . A n d y o u c a l l u s a n d
let u s k n o w h o w y o u a r e d o i n g .
TH: G o i n the b e d r o o m , t h e n c a l l a n d tell u s w h a t it i s y o u ' r e d o i n g .
J: O k a y , t h a f s fine.
TH: A n d d o n ' t let S a n d y get the t w o o f y o u a t o d d s w i t h e a c h

other, so that y o u d o n ' t c a r r y this o u t , if y o u u n d e r s t a n d w h a t
I ' m s a y i n g . B e c a u s e if t h e r e ' s a n y t h i n g to this, it i s p r i o r i t y
o n e . I f s got to h a p p e n .
M: Y o u s a y the w h o l e b e d r o o m set t o d a y o r j u s t o n e p i e c e ?
TH: I ' m s a y i n g it i s t i m e take a c t i o n .
J: O k a y , let m e tell y o u w h a t I ' m g o i n g to d o . I ' m g o i n g to get

h o m e a n d I ' l l c a l l before w e d o a n y t h i n g . I ' m g o i n g to n a r r o w
d o w n s o m e c l o t h i n g o u t of m y closet. B u t I ' m n o t g o i n g to
h a v e y o u h o l d before w e e v e n get s t a r t e d .
TH: A n d tell u s w h a t y o u ' r e a b o u t to g e t . . . b e c a u s e if y o u s t i c k to

w h a t w e h a d s a i d . . . i s that y o u ' r e g o i n g to b u r n it a n d k e e p
the a s h e s .
CN: L e f s get g o i n g .
TH: O h l i s t e n , b y the w a y ...
J: Y o u c a n k e e p the lighter, o k a y ? ( l i g h t i n g a cigarette, t h e n

h a n d i n g the lighter to W e n d e l )
TH: T h a n k s , James.
CN: I w o u l d l i k e to s u g g e s t that y o u t w o o n l y d i s c u s s w h a t y o u ' r e

g o i n g to d o w h e n y o u get h o m e b e c a u s e i f s g o i n g to b e e a s y
to drift into t a l k i n g a b o u t other t h i n g s , b e c a u s e i f s close to
lunch...
J: I k n o w , I k n o w . B e c a u s e s h e i s g o i n g to start t a l k i n g a b o u t
h o w m u c h w o r k s h e ' s got to d o i n h e r j o b . . . b u t I ' m g o i n g to
the closet a n d I ' m g o i n g to take c a r e of that. A i n ' t n o t h i n g i n
her c l o s e t . . .
T H : O k a y . B u t d o n ' t y o u hesitate, b e c a u s e t h a f 11 s i g n a l to h e r that

y o u d o n ' t w a n t to.
J: I think t h a f s w h a t she's thinking right n o w . T h a t I ' m attached

to this.
W R : B u t y o u ' r e g o i n g to s h o w h e r .
J: I f s t i m e for a c t i o n . N o m o r e l i p - s e r v i c e .
CASE FOLLOW-UP
D u r i n g the t w o w e e k s after t h i s s e s s i o n , J a m e s a n d M a r y g r a d u a l l y
r e m o v e d e a c h p i e c e of the b e d r o o m set left to J a m e s b y S a n d y d u r
i n g the d i v o r c e settlement, b u r n i n g t h e m o n e b y o n e i n the fireplace.
D u r i n g the p a s t six m o n t h s they r e p o r t h a v i n g h a d v e r y little c o n
tact w i t h S a n d y . I n s e s s i o n s , w h i c h w e r e h e l d m o n t h l y , M a r y a n d
James became m o r e spontaneous w i t h each other a n d described a
s t e a d y i m p r o v e m e n t i n their r e l a t i o n s h i p . J a m e s h a s n o t r e t u r n e d to
the h o s p i t a l for m o r e t h a n t w o y e a r s . H e h a s e n r o l l e d i n a n i n t r o
d u c t o r y c o u n s e l i n g c l a s s at a l o c a l u n i v e r s i t y .
CHAPTER SEVEN
Training exercises
for developing the therapist's
creativity and resourcefulness
Bradford R Keeney & Wendel A. Ray
W e h a v e u s e d the f o l l o w i n g e x e r c i s e s to h e l p t h e r a p i s t s
practice a n d develop rhetorical skills a n d therapeutic
strategies. A l l of these e x e r c i s e s e n c o u r a g e t h e r a p i s t s to
u t i l i z e their i m a g i n a t i o n a n d c r e a t i v i t y . W h e n p r a c t i c i n g these e x e r
cises therapists s h o u l d not w o r r y about whether their responses are
c l i n i c a l l y s o u n d , safe, a p p r o p r i a t e , o r e v e n e t h i c a l . T h e s e e x e r c i s e s
a r e for h e l p i n g to l o o s e n the t h e r a p i s t ' s a t t a c h m e n t to c l i c h e s ,
r e c i p e s , a n d r o u t i n e w a y s of b e i n g i n a s e s s i o n . L i k e the e x e r c i s e s
c o n d u c t e d i n a s c h o o l of p e r f o r m i n g arts, t h e r a p i s t s s h o u l d free
t h e m s e l v e s to p r a c t i c e e x e r c i s i n g their i n v e n t i v e n e s s . F o l l o w i n g t h e
p r a c t i c e of a n e x e r c i s e , t h e r a p i s t s m a y a n a l y s e , c r i t i q u e , a n d d i a
l o g u e a b o u t the u t t e r a n c e s that c a m e forth.
W e h a v e u s e d these e x e r c i s e s i n a v a r i e t y of t r a i n i n g settings,
including graduate course work, postgraduate clinical training pro
g r a m s , a n d w o r k s h o p s . T h e e x e r c i s e s a r e n o t a s u b s t i t u t e for t r a i n
i n g . W e r e g a r d l i v e s u p e r v i s i o n of c l i n i c a l c a s e w o r k to b e the m o s t
i m p o r t a n t l e a r n i n g s t r u c t u r e for t r a i n i n g t h e r a p i s t s . T h e s e e x e r c i s e s
a r e a s u p p l e m e n t to t r a i n i n g that a i m to h e l p liberate a n d e x p a n d
the t h e r a p i s t ' s i m a g i n a t i o n a n d c h o i c e s of c o n d u c t T h e y a r e p r e
81
s e n t e d i n s k e l e t a l f o r m s o that t h e r a p i s t s m a y m o r e e a s i l y m o d i f y
a n d u s e these e x e r c i s e s i n a n y w a y that m a y h e l p the b r i n g i n g forth
of r e s o u r c e f u l n e s s i n t h e r a p y .
"Getting Unstuck"
1. B r e a k into g r o u p s of 3 - 5 p e o p l e a n d c o m e u p w i t h s e v e r a l ex
a m p l e s of h o w t h e r a p i s t s get s t u c k i n their w o r k . F o r e x a m p l e ,
p a r t i c u l a r w a y s of getting s t u c k to a n i d e a , belief, t e c h n i q u e ,
o r i e n t a t i o n , a n d s o forth, c a n b e e l a b o r a t e d .
2. C o m e u p w i t h a n i n t e r v e n t i o n that a d d r e s s e s e a c h e x a m p l e of
being stuck.
3. S h a r e f i n d i n g s w i t h other g r o u p s .
4. C h o o s e s e v e r a l e x a m p l e s w i t h i n t e r v e n t i o n s to be p e r f o r m e d a s a
s i m u l a t e d s e s s i o n i n front of the w h o l e t r a i n i n g class.
"Creating Lines for Client Provocations"
1. M a k e a list of p o s s i b l e utterances f r o m c l i e n t s that m a k e y o u

s q u i r m o r u n c e r t a i n as to w h a t y o u w o u l d s a y . F o r i n s t a n c e :
" I ' m not sure therapy is doing m e any g o o d . "
" I thought about killing myself."
" I d o n ' t k n o w if y o u c a n h e l p m e . "
2. F o r e a c h c l i e n t p r o v o c a t i o n , create at least five different t h e r a

peutic comeback lines.
"Creating a Case Dialogue"
1. H a v e the entire g r o u p b r e a k into t w o l i n e s of c h a i r s , f a c i n g o n e

a n o t h e r . O n e l i n e of trainees i s to a s s u m e the v o i c e of " t h e c l i e n t "
w h i l e the other l i n e of trainees a s s u m e s " t h e t h e r a p i s t ' s " v o i c e .
2. A n y p e r s o n i n the client l i n e m a y s a y o n l y o n e line. T h e n e x t l i n e
m u s t c o m e f r o m a p e r s o n i n the t h e r a p i s t l i n e . A n d so o n , b a c k
a n d forth, i n a f a s h i o n that creates a t h e r a p e u t i c c o n v e r s a t i o n .
T h e p e r s o n w h o offers a l i n e m u s t w a i t i n s i l e n c e u n t i l after
a n o t h e r p e r s o n i n h i s or h e r l i n e h a s u t t e r e d a s u b s e q u e n t l i n e .
TRAINING EXERCISES 83
3. A l l m e m b e r s of a l i n e a r e to listen to the v o i c e s of t h e i r l i n e a s the

v o i c e of o n e p e r s o n . O n e w h o l e l i n e i s a w h o l e c l i e n t a n d a n o t h e r
w h o l e l i n e i s a w h o l e therapist.
''Talking with Meaningful Noise: Creating Theory"
1. H a v e the g r o u p p u t o n a b l a c k b o a r d a list of m e t a p h o r s that

i n d i c a t e the m o s t i m p o r t a n t k e y t e r m s u s e d to u n d e r s t a n d t h e r a
peutic change.
2. M e m b e r s a r e t h e n to create theoretic s e n t e n c e s a n d g e n e r a l i z a
tions b y s t r i n g i n g together a n y of the a b o v e d e r i v e d t e r m s . N o
other w o r d s c a n be u s e d other than " t h e " , " i f " , " a n " , " a n d " , a n d
s o forth.
"Creating Hypnotic/Trance Injunctions"
1. T h e g r o u p i s to m a k e a l i s t of m e t a p h o r s a s s o c i a t e d w i t h h y p
notic e x p e r i e n c e .
2. C r e a t e s t r i n g s of s e n t e n c e s , s e n s i c a l a n d / o r n o n s e n s i c a l , that
c o n n e c t these m e t a p h o r s together. S a y t h e m a s i f t h e y were
trance injunctions.
"Imagining the Impossible as Possible"
1. E a c h p e r s o n i s to create a l i n e , i n t e r v e n t i o n , o r e x p l a n a t i o n that
o n e c o u l d n e v e r i m a g i n e s a y i n g to a client. I t m a y be c o n s i d e r e d
i m p o s s i b l e b e c a u s e o n e t h i n k s it i s too w i l d , d a n g e r o u s , u n
comfortable, or whatever.
2. T h e g r o u p t h e n i n v e n t s a n i m a g i n a r y case s t o r y that d e m o n
strates h o w that " i m p o s s i b l e " l i n e or i n t e r v e n t i o n w o u l d m a k e
s e n s e a n d b e r e s o u r c e f u l i n the context of the i n v e n t e d c a s e
story.
"Imagining the Safe Therapeutic Line as Dangerous"
1. E a c h p e r s o n i s to create a list of three " s a f e " t h e r a p e u t i c l i n e s . F o r

instance:
" H o w are y o u today?"
" I understand what you mean."
' T a k e a d a y off for y o u r s e l f . "
2. T h e g r o u p t h e n creates c l i n i c a l case stories d e m o n s t r a t i n g h o w

these " s a f e " l i n e s m a y b e d a n g e r o u s i n a p a r t i c u l a r context.
"Therapy for Movie Scenes''
1. E a c h g r o u p f i n d s a 1-5 m i n u t e e x c e r p t f r o m a p o p u l a r m o v i e that
i s a c l e a r s e t - u p o r A c t I. I t d o e s n o t h a v e to be the b e g i n n i n g of a
m o v i e . W h a t i s i m p o r t a n t i s that i t i s a n e x c e r p t that d o e s n o t
r e q u i r e that the o b s e r v e r p r e v i o u s l y h a v e s e e n the w h o l e f i l m .
T h e e x c e r p t o n its o w n p r e s e n t s a c l e a r l y d e f i n e d p r o b l e m a t i c
s i t u a t i o n i m p l y i n g the n e e d for r e s o l u t i o n .
2. T h e g r o u p t h e n creates a n i m a g i n a r y m i d d l e a n d final s c e n e that

resolves the problem.
"Making Connections"
1. T h e c l a s s d i v i d e s itself into three g r o u p s w h o go to s e p a r a t e

p l a c e s to c o n d u c t different tasks.
2. T h e first g r o u p i n v e n t s five m i n u t e s of a h y p o t h e t i c a l c o n v e r s a
t i o n i n the b e g i n n i n g of t h e r a p y . T h e s e c o n d g r o u p i n v e n t s a n
i n t e r v e n t i o n n o t d e s i g n e d for a n y p a r t i c u l a r s i t u a t i o n . ( N o t e :
T h e s e c o n d g r o u p h a s n o a w a r e n e s s of the first g r o u p ' s c o n v e r
sation.)
3. A l l three g r o u p s c o m e together a n d the first g r o u p enacts

the t h e r a p e u t i c c o n v e r s a t i o n . F o l l o w i n g that c o n v e r s a t i o n , t h e
s e c o n d g r o u p acts a s a c o n s u l t a n t a n d s a y s the f o l l o w i n g , "we
w a n t y o u to d o the f o l l o w i n g task. W e ' l l p r e s e n t it to y o u a n d let
y o u t h i n k a b o u t it w h i l e w e go take a s h o r t c o n s u l t a t i o n b r e a k .
W e ' l l t h e n s e n d s o m e o n e i n to e x p l a i n the t a s k . " T h e s e c o n d
g r o u p t h e n p r e s e n t s the i n t e r v e n t i o n t h e y h a d i n v e n t e d .
4. T h e t h i r d g r o u p l e a v e s the r o o m a n d i n v e n t s s o m e w a y of c o n
n e c t i n g the i n t e r v e n t i o n to the c o n v e r s a t i o n so that it h a s m e a n
i n g . W h e n t h i s is d o n e , t h e y r e t u r n a n d p r e s e n t it to the w h o l e
group.
Creating "LIST"
W h e n c l i n i c i a n s talk to o n e a n o t h e r i n a t r a i n i n g context, it m a y b e
i m p o r t a n t to note that there a r e those o c c a s i o n s w h e r e t a l k i s fo
c u s e d m o r e u p o n t h e o r y , w h i l e o t h e r t i m e s it i s f o c u s e d m o r e u p o n
p r a c t i c e . W e h e l p trainees m a n a g e c l i n i c a l i n f o r m a t i o n b y a h e u r i s
tic that o r d e r s d e s c r i p t i o n s of t h e r a p y i n t o four categories:
L: Lines
I: Intervention
S: Strategy
T: Theory
T h i s a c r o n y m , L I S T , p r o v i d e s a n efficient w a y of o r g a n i z i n g t a l k
a b o u t the c l i n i c a l s i t u a t i o n i n a w a y that i s c o n d u c i v e to the p r a c t i c e
of R F T . I n a g r o u p s e t t i n g s t u d e n t s a r e e n c o u r a g e d to p r a c t i s e r e c
o g n i z i n g w h e n s o m e o n e i s t a l k i n g a b o u t a specific t h e r a p e u t i c l i n e
(i.e. the specific w o r d s that a r e s p o k e n ) a n d w h e n o n e i s a r t i c u l a t i n g
a n u n d e r s t a n d i n g of theory. T h e y a l s o p r a c t i s e i d e n t i f y i n g t a l k c o n
c e r n e d w i t h c r e a t i n g a strategy a i m e d a t m o v i n g c l i e n t s f r o m A c t I
( a n i m p o v e r i s h i n g c o n v e r s a t i o n ) into A c t I I ( t o w a r d s a m o r e r e
s o u r c e f u l c o n v e r s a t i o n ) . A n d , finally, they p r a c t i s e i d e n t i f y i n g a n d
c r e a t i n g t a l k that a s p i r e s to p r o v i d e a n i n t e r v e n t i o n for e n a c t i n g a
r e s o u r c e f u l context.
"Using a Storyboard in Therapy"
1. S i m u l a t e a c l i n i c a l s e s s i o n w h e r e there a r e c l i e n t s , a t h e r a p i s t ,
a n d a story-keeper.
2. T h e s t o r y - k e e p e r u s e s a b l a c k b o a r d o r p o s t e r b o a r d to k e e p t r a c k
of the f l o w o f c o n v e r s a t i o n i n t h e r a p y . H e o r s h e m a y i n t e r r u p t at
a n y t i m e to a s k c l a r i f y i n g q u e s t i o n s s u c h as:
" W h a f s the o p e n i n g c h a p t e r ? "
" W h o a r e the m a i n c h a r a c t e r s ? "
" W h e n d i d this story b e g i n ? "
" C a n w e m o v e into the n e x t c h a p t e r ? "
" D i d y o u j u s t g o b a c k to the i n t r o d u c t i o n a g a i n ? "
N o t e that the s t o r y - k e e p e r i s r e a l l y a c o - t h e r a p i s t b u t d o e s n o t
e x p l i c i t l y a s s u m e that role. H e o r s h e acts m o r e l i k e a r e p o r t e r

w h o o n l y a s k s q u e s t i o n s to h e l p k e e p the s t o r y clear.
"Fortune Cookie Therapy"
1. A g r o u p of trainees w r i t e t w e l v e q u e s t i o n s or s t a t e m e n t s f r o m
the p e r s p e c t i v e of the c l i e n t o n i n d e x c a r d s ( o n e s e n t e n c e p e r
c a r d ) . T h o s e are t h e n p l a c e d i n a b o w l .
2. A t h e r a p y case s i m u l a t i o n i s e n a c t e d u s i n g o t h e r t r a i n e e s w h o
h a v e n o k n o w l e d g e of w h a t the c a r d s state. A t a n y m o m e n t , the
client p e r f o r m e r s m a y r e a c h into the b o w l a n d r a n d o m l y select a
c l i e n t c a r d w i t h a q u e s t i o n or s t a t e m e n t o n it. T h i s is t h e n u t t e r e d
a s if it w e r e p a r t of the o n - g o i n g c o n v e r s a t i o n .
3. T h e p r o c e d u r e m a y b e r e v e r s e d , w h e r e the t w e l v e c a r d s a r e
s t a t e m e n t s / q u e s t i o n s w r i t t e n f r o m the p e r s p e c t i v e of the t h e r a
pist's voice.
"How To Learn a Style of Therapy; Part One"
1. C h o o s e a c l a s s i c c a s e s t u d y that i s i n s p i r i n g to y o u . T h e case m a y
be t r a n s c r i b e d i n a p u b l i s h e d b o o k or a v a i l a b l e a s a t r a i n i n g tape.
2. M e m o r i z e the w h o l e case.
3. P e r f o r m the c a s e a n d a s s u m e the v o i c e s of a l l c h a r a c t e r s . Set u p
different c h a i r s a n d m o v e f r o m c h a i r to c h a i r i n o r d e r to e n a c t
the w h o l e s e s s i o n .
4. W h e n y o u h a v e m a s t e r e d a p a r t i c u l a r t h e r a p y s e s s i o n , try i m
p r o v i s i n g o n it.
"How to Learn a Style of Therapy: Part Two"
1. P e r f o r m a n i m a g i n a r y s e s s i o n of a p a r t i c u l a r s c h o o l of t h e r a p y ,
e x p r e s s i n g a l l the v o i c e s of a l l c h a r a c t e r s — c l i e n t s a n d therapist.
2. P e r f o r m a n i m a g i n a r y s e s s i o n w h e r e y o u a r e the t h e r a p i s t a n d
the c l i e n t (another trainee) s a y s the " r i g h t l i n e s , " t h a t i s , the
s t a t e m e n t s that h e l p y o u b r i n g forth the k i n d of t h e r a p y y o u a r e
t r y i n g to enact.
3. P e r f o r m a n i m a g i n a r y s e s s i o n w h e r e y o u a r e the t h e r a p i s t , a n d
the c l i e n t ( a n o t h e r trainee) o c c a s i o n a l l y m a k e s it difficult for y o u
to c o n d u c t the p a r t i c u l a r s t y l e of t h e r a p y y o u d e s i r e . F o r i n
s t a n c e , i n the c a s e of t r y i n g to p e r f o r m a problem-solving
therapy:
Therapist: " W h a t ' s the p r o b l e m ? "
Client: " I d o n ' t w a n t to d i s c u s s p r o b l e m s . I w a n t y o u to

empathize w i t h m y feelings."
"Creating an Exercise"
1. I n a g r o u p s i t u a t i o n , c h o o s e three r e a d e r s to e n a c t the c o n v e r s a
t i o n that f o l l o w s . O n e r e a d e r i s the n a r r a t o r , a n o t h e r a w o m a n
t h e r a p i s t , a n d the t h i r d a m a l e therapist.
Narrator: T h e f o l l o w i n g i s a n e x e r c i s e c r e a t e d to h e l p free
t h e r a p i s t s f r o m p s y c h o t h e r a p y c l i c h e s a n d s c r i p t e d w a y s of
performing. T h e session begins n o w h e r e i n particular a n d
a i m s to g o n o w h e r e i n g e n e r a l . A r e y o u r e a d y ?
Man: Are y o u ready?
Woman: Yes, l e f s begin.
Man: L e f s see if I h a v e t h i s r i g h t . W e ' r e s u p p o s e to l o o k l i k e

w e ' r e r e a d i n g a s c r i p t , w h e n i n fact there a r e n o w o r d s w r i t t e n
o n the p a g e s w e h o l d i n front of u s .
Woman: W e l l there a r e n o w o r d s i n front of m e , b u t I d o n ' t

k n o w w h e t h e r y o u h a v e a s c r i p t . O n e of the r u l e s of t h i s
e n c o u n t e r i s that w e c a n ' t l o o k at e a c h o t h e r ' s s c r i p t .
Man: W h a t e v e r the c a s e , w e a r e e a c h to p r e t e n d that w e ' r e

r e a d i n g l i n e s f r o m a s c r i p t w i t h o u t k n o w i n g w h e t h e r the o t h e r
p e r s o n h a s a s c r i p t or not.
Woman: I s n ' t that d e c e p t i v e ?

Man: I s it l e s s d e c e p t i v e t h a n t h e r a p i s t s w h o s p e a k m e m o
r i z e d s c r i p t s to their c l i e n t s , b u t p r e t e n d t h e y a r e not?
Woman: I see w h a t w e ' r e d o i n g . W e ' r e t u r n i n g t h e r a p y u p s i d e

d o w n . R e m e m b e r w h a t w a s said about most therapy being a
c o l l e c t i o n of a b o u t a d o z e n c l i c h e s , a n d that w h a t m o s t t h e r a
p i s t s d o i s d i s p e n s e these c l i c h e s into c o n v e r s a t i o n s .
RESOURCE-FOCUSED THERAPY
Man: W e l l - w o r n lines like,

" I hear y o u saying that/' or
" H o w d o y o u feel a b o u t t h a t ? " o r
" W h o ' s c l o s e s t to M o m i n t h i s f a m i l y ? " o r
" W h a t h a v e y o u tried as a s o l u t i o n ? "
Woman: S o h o w i s this c o n v e r s a t i o n g o i n g to h e l p free u s to

t h i n k u p other l i n e s ?
Man: I ' m n o t s u r e t h a f s w h a t this c o n v e r s a t i o n i s a b o u t .

M a y b e there i s n o p u r p o s e to t h i s e n c o u n t e r .
Woman: H o w d o y o u feel a b o u t that?

Man: If y o u r family w e r e here, w h o i n y o u r family w o u l d be
m o s t l i k e l y to a s k that q u e s t i o n ?
Woman: I hear what you're saying.

Man: S o w h a f s the p r o b l e m w e w a n t to a d d r e s s ?
Woman: I t h i n k the i s s u e i s h o w to s a y s o m e t h i n g o t h e r t h a n
therapy cliches.
Man: L e f s c a l l i n o u r c o n s u l t a n t for a d v i c e .
T h e g r o u p t h e n c r e a t e s the rest of the s c r i p t , o n e l i n e at a t i m e .

O n e w a y of d o i n g this i s to h a v e e v e r y trainee w r i t e o n e l i n e
that i s n o t a b o r i n g c l i c h e a b o u t t h e r a p y . A l i n e i s r e a d a n d t h e n
the g r o u p a d d s c o n v e r s a t i o n to w e a v e it i n t o the text. C o n s i d e r
c r e a t i n g a n e n d i n g to the c o n v e r s a t i o n that i n c l u d e s a s t o r y of
h o w t h i s e x e r c i s e b e c a m e a p a r t of t h i s b o o k .
CHAPTER EIGHT
After words
A s the p r e m i s e s a n d m e t h o d s d e s c r i b e d i n the first t w o c h a p

ters a n d the s u b s e q u e n t c a s e s t u d i e s h a v e d e m o n s t r a t e d ,
R F T , w h i l e r o o t e d i n the s a m e t r a d i t i o n s a s B r i e f T h e r a p y ,
r e p r e s e n t s a r a d i c a l d e p a r t u r e f r o m other b r i e f t h e r a p y o r i e n t a t i o n s .
Rather than focusing o n attempted solutions as is done i n problem
focused approaches, expanding u p o n existing solutions as i n s o l u
t i o n - f o c u s e d m o d e l s , or f o c u s i n g u p o n the s o c i a l c o n t e x t u a l i z a t i o n
of the p r o b l e m a s i n the M i l a n S y s t e m i c o r i e n t a t i o n , R F T m o v e s
completely a w a y from talking about problems as quickly as possible
w i t h i n d i e l o g i c of the t h e r a p e u t i c c o n v e r s a t i o n . Any potentially
r e s o u r c e f u l l i n e p r e s e n t e d b y the c l i e n t or t h e r a p i s t i s e x p a n d e d
u p o n a n d u t i l i z e d to create r e s o u r c e f u l contexts for a c t i o n . T h e r a p y
b e c o m e s a p r o c e s s of m a i n t a i n i n g the m o r e r e s o u r c e f u l context.
W e i n v i t e r e a d e r s to e x p e r i m e n t w i t h R F T i n their o w n c l i n i c a l
w o r k , supervision, a n d training, a n d w e close w i t h a few quotations
w e have found resourceful.
89
RESOURCE FOCUSED THERAPY
' T h a t ' s k i n d of n o r m a l , i s n ' t i t ? "

- D o n Jackson
" O n e t h i n g l e a d s to a n o t h e r . "
- J o h n Weakland
" W e are all m o r e simply h u m a n than anything else."
- H a r r y Stack S u l l i v a n
" W h e n d i d y o u settle o n t h i s a s b e i n g the b e s t e x p l a n a t i o n ? "
- Gianfranco Cecchin
" D o n ' t bite m y finger, l o o k w h e r e I ' m p o i n t i n g . "
- Warren McCulloch
" H o w c r a z y a p a r t i c u l a r p e r s o n a p p e a r s to y o u d e p e n d s o n
y o u r o w n f r a m e of reference a n d y o u r o w n e x p e r i e n c e . "
- D o n D . Jackson
" D o n o t h o l d a n y belief e x c e p t a s a w o r k i n g h y p o t h e s i s to b e
discarded as soon as possible."
- W a r r e n S. M c C u l l o c h
" T h e t h i n g to d o i s to get y o u r patient, a n y w a y y o u w i s h , a n y
w a y y o u c a n , to d o s o m e t h i n g . "
- Milton H . Erickson
" I f it a i n ' t b r o k e , d o n ' t fix i t . "
- Anonymous
" T o o often p s y c h o t h e r a p i s t s try to d e a l w i t h their p a t i e n t s b y
u s i n g their d o c t o r a l d e g r e e l a n g u a g e , t r y i n g to e x p l a i n the ego,
s u p e r e g o , a n d the i d , c o n s c i o u s a n d u n c o n s c i o u s , a n d t h e
patient doesn't k n o w whether you're talking about corn,
potatoes, o r h a s h . T h e r e f o r e , y o u try to u s e the l a n g u a g e of t h e
patient."
- Milton H . Erickson.
T h i s p l a y f u l n e s s i s the p r o d u c t of the s h a r e d a b i l i t y to
a p p r e c i a t e the p o w e r of r e d e s c r i b i n g , the p o w e r of l a n g u a g e to
m a k e n e w a n d different things p o s s i b l e a n d i m p o r t a n t — a n
appreciation w h i c h becomes possible only w h e n one's a i m
b e c o m e s a n e x p a n d i n g repertoire of a l t e r n a t i v e d e s c r i p t i o n s
rather than T h e O n e Right Description."
- Richard Rorty
" I f s unverifiable, so y o u can't say i f s not true."
- Anonymous
" I t t a k e s t w o to k n o w o n e . "
- Gregory Bateson
AFTER WORDS 91
" M a y G o d keep u s from single vision a n d N e w t o n ' s s l e e p ! "

- W i l l i a m Blake
" T h e L a w s of N a t u r e b e c o m e i n v e n t i o n s , r i g o r i s m a r r i e d to
i m a g i n a t i o n , a n d N a t u r e i s fiction, m a d e u p b y u s a c t i n g
together. U l t i m a t e l y this m e a n s s e e i n g o n e s e l f t h r o u g h the e y e s
of the o t h e r . "
- H e i n z V o n Foerster
" T h e r e i s n o ' n o t c a r i n g ' . . . [ w e are] o n l y relatively
independent."
- D o n D . Jackson
" W h a f s the p r o b l e m ? "
- Wyatt Earp
" I s there a miracle i n y o u r life?"
- O r a l Roberts
" T h e s t a t e m e n t i s p o i n t l e s s . T h e finger i s s p e e c h l e s s . "
- R . D . Laing
" G o d s a v e u s f r o m w h a t m a n d o e s i n the n a m e of g o o d . "
- Paladin
" W o r d s are action."
-RFT
" A c t i o n s a r e c l e a n e r t h a n w o r d s . "
-RFT
"Silence is a noisy act."
-RFT
" U n c o m m o n s e n s e often m a k e s better s e n s e . "
-RFT
" T y p i c a l l y , the m o r e y o u a s k , the m o r e lost y o u g e t . "
-RFT
" M o r e information is less."
-RFT
" A c t i n o r d e r to h e a r . "
-RFT
" W h e n y o u r job i s d o n e , s t o p . "
-RFT
"The end."
- Shakespeare
REFERENCES AND BIBLIOGRAPHY
Bateson, G . (1972). Steps to an Ecology of Mind. N e w Y o r k : Jason

Aronson.
Bateson, G . , Jackson, D . , H a l e y , J., & W e a k l a n d , J. (1956). T o w a r d a
theory of s c h i z o p h r e n i a . Behavioral Science, 1 (4): 251-264.
Boscolo, L . , C e c c h i n , G . , Hoffman, L . , & P e n n , P. (1987). Milan Systemic
Family Therapy. N e w Y o r k : B a s i c Books.
C e c c h i n , G . , L a n e , G . , & R a y , W . (1991), V o m strategischen V o r g e h e n
z u r Nicht-intervention. Familien Dynamik, 17 (1): 3-18.
C e c c h i n , G . , L a n e , G . , & R a y , W . (1992). Irreverence: A Strategy for Thera
pists' Survival L o n d o n : K a r n a c Books.
C e c c h i n , G . , L a n e , G . , & R a y , W . (1993). F r o m strategizing to non-inter
vention. Journal of Marital & Family Therapy, 19:125-136.
de Shazer, S. (1982). Patterns of Brief Family Therapy: An Ecosystemic Ap
proach. N e w Y o r k : G u i l f o r d Press.
d e S h a z e r , S. (1988). Clues: Investigating Solutions in Brief Therapy. N e w
York: W . W.Norton.
E r i c k s o n , M . (1980). The Collected Papers of Milton H. Erickson, M . D . ,
Vols. 1-4, edited b y E . R o s s i . N e w Y o r k : Irvington.
E r i c k s o n , M . (1985). Life Reframing in Hypnosis. N e w Y o r k : I r v i n g t o n .
93
94 REFERENCES A N D BIBLIOGRAPHY
E r i c k s o n , M . , H a l e y , J., & W e a k l a n d , J. (1959). A transcript of a trance

i n d u c t i o n w i t h commentary. American Journal of Clinical Hypnosis
(October): 49-84.
F i s c h , R., W e a k l a n d , J., & Segal, L . (1982). The Tactics of Change: Doing
Therapy Briefly. S a n Francisco, C A : Jossey-Bass.
Goffman, E . (1961). Asylums: Essays on the Social Situation of Mental
Patients and Other Inmates. N e w Y o r k : A n c h o r Books.
H a l e y , J. ( E d . ) (1967). Advanced Techniques of Hypnosis and Therapy:
Selected Papers of Milton H, Erickson. N e w Y o r k : G r u n e & Stratton.
H a l e y , J. (1973). Uncommon Therapy: The Psychiatric Techniques of Milton
H. Erickson, M D . N e w Y o r k : W . W . N o r t o n .
H a l e y , J. (1976). Problem-Solving Therapy. S a n Francisco, C A : Jossey-
Bass.
J a c k s o n , D . (1965). T h e study of the family. Family Process, 4:1-20.
Jackson, D . (1967a). Schizophrenia: T h e nosological nexus. Excerpta
Medica International Congress Series, 151: 111-120. A l s o i n P.
W a t z l a w i c k & J. W e a k l a n d ( E d s . ) , The Interactional View (pp. 193
208). N e w Y o r k : W . W . N o r t o n .
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(3): 34-^1.
Jackson, D . (1967c). T h e m y t h of normality. Medical Opinion and Review,
3 (5): 28-33.
Jackson, D . (1967d). Family Therapy with a "Schizophrenic" Young Adult
and his Parents [Uncirculated film]. Palo A l t o , C A : M R I .
Jackson, D . , &c W e a k l a n d , J. (1959). Schizophrenic s y m p t o m s a n d f a m
i l y interaction. Archives of General Psychiatry, 1: 618-621.
Jackson, D . , & W e a k l a n d , J. (1961). Conjoint family therapy. Psychiatry,
24 (Suppl. #2): 3 0 ^ 5 .
K e e n e y , B. (1983). Aesthetics of Change. N e w Y o r k : G u i l f o r d Press.
K e e n e y , B. (1991). Improvisational Therapy: A Practical Guide for Creative
Clinical Strategies. N e w Y o r k : G u i l f o r d Press.
K e e n e y , B., & R a y , W . (1992a). K i c k i n g research i n the ass: Provocations
for reform. AFT A News Journal, 47: 67-68.
K e e n e y , B., & R a y , W . (1992b). Shifting from s u p e r v i s i o n to s u p e r
audition. AAMFT Supervision Bulletin, 5 (2): 3.
K e e n e y , B., & R o s s , J. (1992). Mind in Therapy: Constructing Systemic
Family Therapies. Pretoria, South Africa: U n i v e r s i t y of South A f r i c a ,
S i g m a Press.
K e e n e y , B., & Silverstein, O . (1987). The Therapeutic Voice of Olga
Silverstein, N e w Y o r k : G u i l f o r d Press.
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M i l l e r , J. (1989). W o n d e r as hinge. International Philosophical Quarterly,

29 (1): 44-66.
M u l l a h y , P. (1967). A Study of Interpersonal Relations. N e w Y o r k : Science
House.
P a l a z z o l i , M . , C e c c h i n , G . , Boscolo, L . , & Prata, G . (1978a). H y p o t h e s i z
i n g - c i r c u l a r i t y - n e u t r a l i t y . Family Process, 19: 3-12
P a l a z z o l i , M . , C e c c h i n , G . , Boscolo, L . , & Prata, G . (1978b). Paradox and
Counterparadox. N e w Y o r k : Jason A r o n s o n .
R a y , W . (1990). D i e interaktionale T h e r a p i e v o n D o n D . Jackson.
Zeitschrift fur Systemische Therapie (January): 5-30
R a y , W . (1992a). F a m i l y therapy of adolescent substance abuse. Louisi
ana Journal of Counseling & Development, 3 (1): 8-15.
R a y , W . (1992b). O u r future i n the past: L e s s o n s from D o n Jackson for
practicing f a m i l y therapy w i t h hospitalized adolescents, Family
Therapy, 19: 61-72.
R a y , W . (1993). John W e a k l a n d : A n appreciation. AAMFT News, 24 (1):
27-28.
R a y , W . K e e n e y , B., Parker, K . , & Pascal, D . (1992). T h e invisible w a l l : A
m e t h o d for breaking a relations i m p a s s e . Louisiana Journal of
Counseling and Development, 3 (1): 32-35.
R a y , W . , & Saxon, W . (1992). Nonconfrontive u s e of video p l a y b a c k i n
brief f a m i l y therapy. Journal of Marital and Family Therapy, 18:63-70.
S u l l i v a n , H . S. (1953). Collected Works. N e w Y o r k : W . W . N o r t o n .
Stanton, A . , & S c h w a r t z , M . (1954). The Mental Hospital N e w York:
B a s i c Books.
T a n n e n b a u m , F . (1938). T h e dramatization of evil. Crime & Punishment
(pp. 19-20). N e w Y o r k : C o l u m b i a U n i v e r s i t y Press.
v o n Foerster, H . (1984a). Cybernetics of Cybernetics. U r b a n a , I L : Biologi
cal C o m p u t e r Laboratory.
v o n Foerster, H . (1984b). Observing Systems. Seaside, C A : Intersystems
Press.
W a t z l a w i c k , P., B e a v i n , J., & Jackson, D . (1967). Pragmatics of Human
Communication. N e w York: W . W . Norton.
W a t z l a w i c k , P., W e a k l a n d , J., & F i s c h , R (1974). Change: Principles of
Problem Formation and Problem Resolution. N e w Y o r k : W . W . N o r t o n .
W e a k l a n d , J. (1967). C o m m u n i c a t i o n a n d b e h a v i o r — A n introduction.
American Behavioral Scientist, 10 (8, Special i s s u e — J . W e a k l a n d ,
G u e s t E d i t o r ) : 1-4.
W e a k l a n d , J. (1969). Anthropology, psychiatry, a n d c o m m u n i c a t i o n .
American Anthropologist, 71 (5): 880-888.
96 r e f e r e n c e s a n d bibliography
W e a k l a n d , J. (1983). F a m i l y therapy w i t h i n d i v i d u a l s . Journal of Sys

temic and Strategic Therapies, 2 (4): 1-9.
W e a k l a n d , J . , F i s c h , R., W a t z l a w i c k , P., & B o d i n , A . (1974). Brief
therapy: F o c u s e d problem resolution. Family Process 13:141-168.
W e a k l a n d , J., & R a y , W . (Eds.) (in press). Propagations: 30 Years ofMRI
Influence. N e w Y o r k : H a w o r t h .
ABOUT THE AUTHORS
W e n d e l A , R a y , M S W , P h . D . , i s Associate Professor of Marriage

a n d F a m i l y T h e r a p y at Northeast L o u i s i a n a University in Monroe; a
R e s e a r c h A s s o c i a t e a n d D i r e c t o r o f the D o n D . J a c k s o n A r c h i v e a t
the M e n t a l R e s e a r c h Institute, P a l o A l t o , C a l i f o r n i a . A u t h o r a n d co
author of n u m e r o u s articles a n d book chapters o n interactionally
o r i e n t e d brief t h e r a p y , h e i s c o - a u t h o r of t h r e e o t h e r b o o k s : Irrever
ence: A Strategy for Therapists' Survival (1992), w i t h Gianfranco
C e c c h i n a n d G e r r y L a n e , Propagations: 30 Years o / M . R . L Influence ( i n
p r e s s ) , c o - e d i t e d w i t h J o h n H . W e a k l a n d , a n d The Cybernetics of
Prejudices: Prejudice and Accountability in Therapy, w i t h G i a n f r a n c o
C e c c h i n a n d G e r r y L a n e (in press). A clinical m e m b e r a n d a p p r o v e d
s u p e r v i s o r of t h e A m e r i c a n A s s o c i a t i o n for M a r r i a g e a n d F a m i l y
T h e r a p y , h e i s c u r r e n t l y P r e s i d e n t of the L o u i s i a n a A s s o c i a t i o n f o r
Marriage a n d Family Therapy.
B r a d f o r d P. K e e n e y , P h . D . , i s presently Professor a n d Director of

Scholarly Studies, Graduate Programs i n Professional Psychology,
U n i v e r s i t y of St. T h o m a s . H e w a s t h e f o r m e r d i r e c t o r o f s e v e r a l
doctoral programs i n family therapy a n d has worked at the
97
98 ABOUT THE AUTHORS
A c k e r m a n Institute for F a m i l y T h e r a p y i n N e w Y o r k C i t y , the P h i l a

d e l p h i a C h i l d G u i d a n c e C l i n i c , a n d the M e n n i n g e r F o u n d a t i o n . A
c l i n i c a l m e m b e r , a p p r o v e d s u p e r v i s o r , a n d f e l l o w of the A m e r i c a n
A s s o c i a t i o n for M a r r i a g e a n d F a m i l y T h e r a p y , h e i s a u t h o r of o v e r
e l e v e n b o o k s a n d h a s l e c t u r e d t h r o u g h o u t the w o r l d . I n a d d i t i o n to
h i s t h e r a p e u t i c a n d a c a d e m i c activities, h e i s a j a z z p i a n i s t a n d c o m
poser.
Resource Focused Therapy
b y W e n d e l A. R a y a n d B r a d f o r d K e e n e y
With a F o r e w o r d by Betty Alice Erickson
For s o m e time the family therapy field has been moving away from a p r o b l e m
b a s e d a p p r o a c h to work with clients. Ideas such as "creating a new family
story", focussing on strengths and solutions, and making contracts with family
m e m b e r s have all shifted interest toward a new approach to therapy. Ray a n d
K e e n e y have b e e n in the forefront of this thinking for several years and they
have b e e n experimenting with their ideas by working together with clients in
order to create their o w n coherent, effective model for therapy. Resource
Focused Therapy is the result!
This m o d e l d o e s not dwell on the mental maps which families use to construe
p r o b l e m s or solutions. Instead, it aligns people with resources which enable
t h e m to b e h a v e and ultimately see themselves differently. T h e s e resources may
spring from m a n y places: internal m a p s , family relationships, n e i g h b o u r h o o d
g r o u p s , or u n t a p p e d c o m m u n i t y resources. T h e authors work alongside their
clients to create a resourceful event or a resourceful environment in which the
family will have their o w n unique experience. Such experiences often have the
effect of enabling the family to see strength or resources they w e r e previously
not a w a r e of.
R e a d e r s will find this book frees t h e m from ideology, but it is also a difficult book
to p i g e o n - h o l e . It m a k e s one think about methapor, brainstorming, and
c o m m u n i t y . Resource Focused Therapy is a new way of thinking about therapy,
about the relationship b e t w e e n therapist and client, and about the available
r e s o u r c e s in the world w e and our clients, together, are living in.
David Campbell and Ros Draper
W e n d e l Ray and Bradford K e e n e y have beautifully m e r g e d a sensible and

practical a p p r o a c h with the creative atheoretical strategies of my father, the late
Milton H. E r i c k s o n , M.D. W h a t a pleasure to read state-of-the-art therapeutical
m e t h o d o l o g y that so clearly carries forth the essence of Erickson's work.
From the Foreword by Betty Alice Erickson
W e n d e l Ray a n d Brad K e e n e y have achieved an important step forward for

family therapists, d e m o n s t r a t i n g how it is possible to create m e t h o d s to help
p e o p l e c o m e out of apparently impossible situations. The reader will certainly
enjoy, as I h a v e , reading h o w improvisation, play, and invention help create
s y s t e m s w h e r e resources and not problems b e c o m e the context markers for
therapy. Gianfranco Cecchin
Karnac Books, Cover d e s i g n e d by

5 8 , Gloucester R o a d , Malcolm Smith
London SW7 4QY ISBN 1 8 5 5 7 5 049 X

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SYSTEMIC THINKING A N D PRACTICE SERIES

Edited by David Campbell and Ros Draper

Resource Focused Therapy

Foreword by Betty Alice Erickson

Systemic Thinking and Practice Series

B e n t o v i m , A . Trauma-Organized Systems. Systemic Understanding of

Systemic Thinking and Practice Series

Dedicated to John H. Weakland

This edition first published in 1993 by

Copyright © 1993 by Wendel A. Ray and Bradford P. Keeney

The rights of Wendel A. Ray and Bradford P. Keeney to be identified as authors

All rights reserved. N o part of this publication may be

ISBN 978 1 85575 049 4

Printed in Great Britain by BPCC Wheatons Ltd, Exeter

EDITORS' FOREWORD vii

2 Theoretical a n d procedural m a p s (and anti-maps) 11

Bradford P. Keeney, & Wendel A. Ray

5 The family football game 53

REFERENCES AND BIBLIOGRAPHY 93

ABOUT THE AUTHORS 97

Betty Alice Erickson

c r e a t i v e a t h e o r e t i c a l strategies of m y father, t h e late

t h e r a p e u t i c a l m e t h o d o l o g y that s o c l e a r l y c a r r i e s forth the e s s e n c e

Milton H . Erickson Institute of Texas

of family therapy and brief therapy—individuals of renown

Beginning Act: Middle Act: Final Act.

p r o b l e m w i t h this a p p r o a c h i s that a focus o n s o l u t i o n s d o e s n o t

Beginning Middle End

FIGURE 2 Problem-Focused Therapy

Beginning Middle End

FIGURE 3 Solution-Focused Therapy

r e t u r n to the c o m m o n - s e n s e u n d e r s t a n d i n g that " p r e v i o u s l y s u c ­

MILAN SYSTEMIC THERAPY

Beginning Middle End

FIGURE 4 Milan Systemic Therapy

Beginning Middle End

FIGURE 5 Resource-Focused Therapy

Theoretical and procedural maps

A . Theoretical maps (and anti-maps)

R F T a d v i s e s the b r i n g i n g forth o f the least i n f o r m a t i o n n e c e s s a r y

difficult it m a y b e to get o u t of that p r o b l e m context. T h e r a p i s t s

W h e n the w o r k i s d o n e , stop the s e s s i o n . H o w m a n y t i m e s d o e s

a t h e r a p i s t create the t h e r a p e u t i c m o m e n t i n the first 10 o r 20

creating well-formed sessions a n d closures.

focus o n a c h i e v i n g a beginning, m i d d l e , a n d e n d . S h o u l d the

c l i e n t s r e t u r n for a s u b s e q u e n t s e s s i o n , that s e s s i o n i s treated a s a

s e s s i o n that took p l a c e w i t h that other t h e r a p i s t t h e t i m e before.

T h e l e s s theoretical u n d e r s t a n d i n g i n the m i n d of the t h e r a p i s t

d u r i n g a s e s s i o n , the m o r e l i k e l y that the t h e r a p i s t c a n u t i l i z e h i s

c o n s c i o u s attention off m u s i c theory w h e n p e r f o r m i n g . T h e o r y

i n t o a r e s o u r c e f u l context. W h e n i t ' s there, l e a v e it a l o n e . I f the

c l i e n t p r e s e n t s c o n d u c t that m a i n t a i n s the r e s o u r c e f u l context,

THEORETICAL A N D PROCEDURAL MAPS 13

the f o c u s off l o o k i n g for r e s o u r c e s a n d t y p i c a l l y r e t u r n s o n e to

explaining non-resourceful conduct.

a n d de-focuses one from recognizing a n d utilizing resources.

but no ideology, whether m o d e r n , post-modern, narrative, or

e m p h a s i z e stories a n d narratives. C l i e n t s are not seen as w a l k i n g

the c l i e n t to s a y the r i g h t l i n e . P r o b l e m - s o l v i n g t h e r a p i s t s , for

11. Radical constructivism/deconstructivism:

15. N o official " n a r r a t o r " :

R F T a l s o rejects the i d e a that it i s a l w a y s u s e f u l for c l i e n t s to

interventions upside d o w n . Questions are regarded as powerful

r e t u r n to the c o m m o n - s e n s e u n d e r s t a n d i n g that " p r e v i o u s l y s u c

W h e r e there i s life, p l a y f u l n e s s a b o u n d s , the a b s u r d i s l e g i t i

W : Y e a h , it w a s getting w h e r e this d e p r e s s i o n w a s n o t o n l y affect

Comment: T h e s e e d for d e v e l o p i n g the r e s o u r c e f u l c o n t e x t i s b e g i n

Comment: T h e football task c l e a r l y p r e s c r i b e s m a n y k i n d s of p o t e n