Tag: dreams

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Why It’s So Hard to Sleep in the NBA

Pro basketball players and coaches suffer chronic sleep deprivation. Can they find help in their dreams?

On January 8, 1964, a 17-year old high school student named Randy Gardner set the world’s record for continual wakefulness: 264 hours, more than eleven straight days without sleep.  Gardner was helped in his effort by Dr. William Dement, a pioneer of sleep medicine who stayed with him round-the-clock to help him achieve his goal.  The worst times came during the wee hours of the night, when Gardner’s resolve faltered, but Dement said they found a sure-fire way to keep sleep at bay:

“Fortunately, playing basketball always worked. We almost had to drag him out to the backyard, but once he was there and got moving, he was much better.” 

This little anecdote from the early history of sleep research illuminates a problem at the heart of the modern National Basketball Association.  Professional basketball players are virtually guaranteed to suffer chronic sleep deprivation. For months on end they stay up late into the night and engage in intense, highly stressful physical competitions held in brightly lit, hyper-stimulating arenas full of thousands of screaming people.  They must endure a constantly changing schedule of long-distance travel, shifting time zones, and unfamiliar food and lodging.  It would be hard to intentionally design a system more likely to disrupt the natural, healthy rhythms of sleep.

Fortunately, a new awareness of the importance of sleep is growing among the players, coaches, and even the league schedulers. Two of the league’s premier players, Lebron James and Kevin Durant, have made their views on the subject clear:

James: “Sleep is the most important thing when it comes to recovery.  And it’s very tough with our schedule. Our schedule keeps us up late at night, and most of the time it wakes us up early in the morning. … There’s no better recovery than sleep.”

Durant: “Of course, on the basketball side, you have to fine tune your skills.  But on the other side, you have to fine tune your body. There’s a lot of remedies you can use as a basketball player to get better, but the easiest thing you can do is go to sleep.”

Much of the credit for the recent burst of attention to sleep and basketball goes to Dr. Cheri Mah, whose 2011 study of the Stanford University men’s basketball team found that increased sleep led to measurably better shooting, faster sprinting, and a higher sense of physical and mental well-being.  Mah’s findings have inspired men’s and women’s teams at all levels to take sleep more seriously as an integral factor in overall player health and performance.

Mah’s research has also spawned a method of predicting the winners of NBA games with alarmingly high accuracy.  ESPN writer Baxter Holmes has worked with Mah to devise a formula for evaluating how tired one team would be compared to another team on the night of a game against each other, especially on the second night of a back-to-back game.  Their formula takes many factors into account:

Whether the game is home or away, the time elapsed between tip-offs (including hours lost from flying east), how rested the opponent is from play or travel and whether it’s part of a longer run of four games in five nights, or five games in seven.

As Holmes reports, the formula has a success rate of about 75% in predicting the winner of a game when one team is likely to be very sleep deprived and the other team is likely to be very well-rested.  These predictions are made regardless of the team’s won/lost records, which is even more impressive in terms of identifying the direct competitive impact of healthy sleep.  If this formula were revised to include the won/lost records, it’s easy to imagine the success rate of the sleep-driven predictions rising to nearly 100%.

This season has also highlighted the sleep challenges of coaches as well as the players.  Two head coaches—Tyronn Lue of the Cleveland Cavaliers and Steve Clifford of the Charlotte Hornets—have been forced by health concerns to leave their teams for several weeks of recuperation.  In both cases, doctors identified chronic insomnia as an important causal factor.

What can be done to help NBA players and coaches improve their sleep?  The league is under growing pressure to eliminate back-to-back games, which would surely remove a major cause of disrupted sleep.  But there’s only so much flexibility when trying to craft a season of 82 games for each of 30 teams in a time frame of 6 months.  Even if back-to-backs are eliminated, the NBA’s regular season schedule will continue to put enormous pressure on everyone’s ability to get a healthy amount of sleep.

At this point, most teams have a sleep consultant of some kind, so players and coaches already have access to basic information about behavioral changes one can make for improving sleep.  Unfortunately, knowing what you should do is not as easy as actually doing it.  According to one coach quoted by David Aldridge at NBA.com,

“We’re all told what to do, but we don’t do it.  We’re all told we have to eat healthy, we have to exercise and we have to get our sleep. All of us. Every coach. This is not like, ‘oh, wow, I never thought of that.’ But it’s hard to do it.”

What else is there?  What other options exist for promoting better sleep, besides the standard methods of appealing to guilt and fear, focusing on behavioral markers, and relying on external authorities?

There is another approach, one that works well for some people and might work very well for NBA players and coaches.  This approach draws on a new source of motivation for getting as much good sleep as possible: Better sleep is important because it leads to better dreaming. 

When you sleep, your mind does not simply shut down.  Rather, it enters a different mode of functioning, a mode that can be described as a kind of play.  Liberated from the constraints of the external world, your sleeping mind is free to imagine, explore, and experiment.  Sometimes, during the phase known as rapid eye movement (REM) sleep, which occurs four or five times a night for most people, your brain becomes intensely activated, as much as when you are wide awake. These complex bursts of neural activation are an automatic, hard-wired feature of your sleep cycle, and they stimulate the psychological process of dreaming.

But why should anyone, let alone those who play or coach professional basketball, care about dreams?  There are at least three reasons.

First, even if you never remember any of your dreams, the process of dreaming still contributes to your mental welfare in waking life.  Researchers have found that dreaming promotes more efficient learning, memory formation, and the emotional integration of new experiences.  The “bizarre” aspects of dreaming—strange settings, odd characters, impossible events—can be understood as playfully stretching your mind’s abilities, with the beneficial effect of increasing your mental flexibility and improving your readiness to deal with unexpected situations in waking life.  In this way, dreaming is like mental yoga.  It loosens the rigid boundaries of your waking ego, expands the range of your imagination, and keeps your mind open and alert to new possibilities.

This means that sleep is especially important for basketball players and coaches who are continuously trying to optimize their performance, because if they sleep well, their dreams will naturally boost their mental health and adaptive flexibility, whether or not they consciously remember any of them.

Second, chances are you that do remember at least a few of your dreams.  If you pay even a little attention to them, you’ll notice they often revolve around your current emotional concerns.  Whatever preoccupies you in waking life—whatever you care most about—is very likely to show up in your dreams. In this way, dreams offer a surprisingly honest mirror of how you’re feeling about the most important people, challenges, and conflicts in your waking life.  Every dream you remember is an opportunity to expand your self-awareness and strive for greater emotional balance.

For pro basketball players, good sleep can open the door to a valuable source of fresh information about how they’re playing, how their bodies are responding, and how they’re getting along with teammates, coaches, opponents, fans, and the media.  Dreams are a powerful tool for identifying hidden fears and emotional obstacles that get in the way of peak athletic performance.

Third, if you actively engage with your dreams by writing them in a journal, several things will happen.  Your recall will likely increase, as you become more consciously attuned to the rhythms of your sleeping mind.  Your sense of time will expand, as you understand more of your past and envision more of your future.  You will notice the emergence of creative insights and innovative ideas that offer new ways of problem-solving in waking life.  Eventually, your dreams will begin changing as you psychologically “level up,” discovering new challenges and new opportunities for growth. You may become “lucid” or self-aware in some of your dreams, and able to interact more intentionally with the characters and settings.  You can practice dream incubation, a method of formulating a question before sleep and then observing any subsequent dreams for possible responses to the question.

Looking at these potentials in a basketball context, good sleep combined with keeping a dream journal can set the stage for developing advanced forms of mental strength and clarity that will empower players to actualize their talents to the fullest.  Dreaming can be a path towards deeper mindfulness, as Hindu and Buddhist meditators have known for many centuries.  For NBA players and coaches, who need to keep their focus laser sharp despite constant distractions, a regular dialogue with their dreams can be a grounding practice that connects them with their core motivations and ultimate center of balance.

None of this is possible if the basic rhythms of one’s sleep cycle are badly out of sync.  But once you start making an active effort to improve your sleep, you will also be improving the conditions for your dreams.  And once you start actively exploring and cultivating the immense powers of your dreaming mind, the sky is the limit.

Note: this post was first published in Psychology Today, April 5, 2018.

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The Prophetic Dreamer

On May 25, 1590, by direct order of King Philip II, the Spanish Inquisition arrested a young, uneducated woman from Madrid named Lucrecia de Leon on charges of heresy and treason.  She was brought to a secret prison in Toledo, interrogated, and tortured to make her confess her guilt.  The evidence against her was overwhelming.  She had been caught conspiring with known rebels, publicly slandering the king, defying direct orders from the church, and stirring up dissent against the imperial government.

Most damning was the collection of Lucrecia’s dreams, carefully recorded by a group of priests interested in apocalyptic omens who came to her house each morning to transcribe what she had seen the previous night.  The dreams were filled with scandalous political and religious imagery, and Lucrecia had been openly sharing them with people at the highest levels of Spanish society.

It seemed like an open-and-shut case.  The Inquisition had dispatched thousands of heretics to their eternal fate based on far less evidence than this.  And yet, Lucrecia’s trial did not end quickly.  It dragged on for five years, one of the longest trials in Inquisition history, and the final verdict against her deviated in several ways from the normal process of punishment.

Why did the Spanish Inquisition, at the height of its brutally oppressive power, struggle for so long to resolve Lucrecia’s case?

Because her dreams had come true.

The hand-written journal compiled by the priests proved it.  The Inquisition judges in Toledo had before them a document showing that Lucrecia’s dreams accurately predicted the fate of the Spanish Armada.  The Armada was Spain’s invincible navy, the most powerful military force in the world, which King Philip planned to use in launching an invasion of England in 1588.  Lucrecia’s dreams in 1587 and early 1588 repeatedly warned of impending disaster for the Armada, and that was indeed the unfortunate result of the attack.

This put the Inquisitors in an excruciating bind.  The evidence of her treasonous and heretical behavior was undeniable, and should have been sufficient to put her to death immediately.  And yet the predictive accuracy of her dreams forced them to pause.  Given the intensity of their Catholic faith, the Inquisitors could not help but wonder if Lucrecia might actually have some kind of prophetic gift.  If this were true, then perhaps it might contrary to God’s will to persecute her.  Indeed, in that case they would be the heretics, not she.

But how could a divine gift like prophecy be granted to a foolish girl from a lower-class family who could barely read and write?  This question seemed to vex the Inquisitors more than anything else. They looked for every possible way to discredit Lucrecia, and they relentlessly pressured her to admit she was a fraud and had made up all the dreams.  For five long years, she refused to do so.

At its core, the trial of Lucrecia de Leon is a story of a young woman defiantly dreaming truth to power.  She could have avoided all of this.  She had many off-ramps along the way, many opportunities to veer off, stay out of trouble, resume her normal life, and escape the Inquisition’s wrath.  She was violently threatened numerous times by church officials, and also by her own father, who ordered her in the clearest possible terms to stop.  “Dreams are only dreams,” he told her, “and if you believe in them I will give the order to have you killed.”

Despite all of this opposition, Lucrecia continued dreaming and sharing her dreams, literally putting her life at risk in the process.

The question of why she did so is the reason I wrote Lucrecia the Dreamer.  What was it that gave her the courage to defy the religious, political, and parental authorities for so long?

Even though she lived more than four hundred years ago, Lucrecia’s story can teach us important lessons about the extraordinary powers and potentials of the dreaming imagination. Using research from religious studies, psychology, and cognitive science, I take a naturalistic approach to the prophetic features of Lucrecia’s dreams.  Her experiences reflect the sleeping mind’s ability to simulate highly realistic visions of future possibility.  Lucrecia evidently possessed an unusually intensified capacity for these kinds of dreams. Other people in various places and times, including people today, have experienced similar phenomena.  Perhaps everyone has the potential for such dreams, given the right circumstances.

 

Note: this post first appeared on the Stanford University Press Author’s Blog, 2/23/18.

 

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The Horrors of the Dream Ballet in “Oklahoma!”

A brilliant exploration of the dark psychological depths of sexual desire appears in an unlikely place—a country musical from the 1940’s.

Oklahoma! was the first collaboration of Richard Rodgers and Oscar Hammerstein II, the duo who went on to write many of Broadway’s most famous mid-century musicals.  A new production of Oklahoma! at the Oregon Shakespeare Festival promises to stimulate new interest in this classic theatrical work through innovative casting, staging, and choreography from director Bill Rauch and choreographer Ann Yee.

Oklahoma! offers a surprisingly complex portrait of dreaming, desire, and the unconscious mind, and I plan to write a more detailed appraisal once the OSF production opens in April.  To set the stage, as it were, I wanted to start with an overview of the traditional production, which opened in 1943 and has since been performed in thousands of other venues in the US and around the world.  An Academy Award-winning movie adaptation appeared in 1955.

Set in the Oklahoma territory in 1906, just before official statehood, the story revolves around two love triangles.  In one, a cowboy (Curly) and a farmhand (Jud) vie for the affections of a farmer’s daughter (Laurey).  In the other, cowboy Will Parker and a Persian traveling salesman named Ali Hakim are both involved with Ado Annie, one of Laurey’s friends.

The play both opens and closes with the joyfully optimistic song “Oh, What a Beautiful Mornin’,” and the action unfolds in the space created between those two happy moments of dawning light.

In the very center of the play, at the end of the Act I, there is a dark and very elaborate dream sequence, “The Dream Ballet,” intended to express Laurey’s conflicted feelings about Curley and Jud.  Other plays and musicals before Oklahoma! had included scenes of dancing framed as dreams, but no one had ever pushed the dream theme into such bold psychological territory, with so much sophistication and artistry in the choreography.  Much of the credit goes to Agnes de Mille, the original choreographer, who helped Rogers and Hammerstein craft what became one of the most famous scenes in the play.

In the scene just before the ballet, Jud is alone and brooding about his sexual frustration.  The pornographic “postcards” in his room excite his fantasies (“And a dream starts a-dancin’ in my head”), but ultimately leave him feeling empty, deceived, and even angrier than before.  He finally declares, “I ain’t gonna dream ‘bout her arms no more!” and sets off to claim Laurey for his own.

Laurey, meanwhile, sits down in the shade of a tree in her yard and drinks a special sleeping potion (“the Elixir of Egypt”) she purchased from Ali Hakim, hoping it will “make up my mind fer me” and help her “to see things clear.”  She slowly nods off, while a group of neighboring girls sing a lullaby about flying from her dreams into the arms of the man she truly loves.  The girls disappear, Laurey falls into a deep sleep, and the dream begins.

Each of the characters in the main love triangle has a kind of dream-world counterpart or avatar, a professional dancer who performs their roles during the 17-minute sequence.  It begins well enough, with Laurey dancing “ecstatically” with Curly.  After many vigorous upward thrusts and arousing leaps through the air, they find themselves at a wedding, walking down the aisle, about to take their vows.  But at the last moment it is Jud, not Curly, who appears in front of her.  Laurey is terrified as Jud and the risqué women from his postcards take over the dream.  Curly has a gun and tries to shoot Jud, but the gun has no effect.  Jud attacks Curly and starts choking him to death.  Laurey begs Jud to stop, and promises to go with him if he will spare Curly’s life.  Jud agrees, and takes Laurey with him, as she bids a “heartbroken” farewell to Curly.

At this moment, Jud walks up to the tree in her yard.  “Wake up, Laurey,” he says, “It’s time to start fer the party.”  Just then Curly walks up to the house, too, hoping she will choose him instead.  Laurey, now fully awake, is seized with panic:

“Remembering the disaster of her recent dream, she avoids its reality by taking Jud’s arm and going with him, looking wistfully back at Curly with the same sad eyes that her ballet counterpart had on her exit. Curly stands alone, puzzled, dejected and defeated, as the curtain falls.”

This marks the end of Act I.

The provocative content and staging of the Dream Ballet was originally envisioned by Hammerstein to be “bizarre, imaginative and amusing, and never heavy.” (Carter 129)  De Mille, however, wanted to shift the tone; she suggested bringing Jud’s postcard girls into the action, and making the whole thing darker and gloomier.  Virtually all musicals try to send their audiences into intermission on a happy, buoyant note; the Dream Ballet of Oklahoma!  has the diametrically opposite effect, which de Mille felt would be entirely appropriate for Laurey’s character and situation at this point in the story.

In a later interview, de Mille said she pushed Hammerstein to make the dream sequence more emotionally realistic, more like the kinds of anxiety dreams that girls and young women actually experience: “Girls don’t dream about the circus. They dream about horrors. And they dream dirty dreams.” (Carter 123)

Thus, the core moment in one of America’s most beloved works of musical theater is a violently realistic sexual nightmare.

The Dream Ballet is an amazing work of art.  It is also a remarkably insightful portrait of the dreaming mind.  For those who study dreams, Oklahoma! raises a number of intriguing questions that can shed new light on the play, its cultural impact, and the dreaming imagination.  I will wait to see the OSF production in late April before saying more, but these are some of the anticipatory questions and ideas dancing through my mind:

Was Agnes de Mille right, as a matter of empirical fact, that girls have a tendency to dream about “horrors” and “dirty” topics?  What might modern research on the dream patterns of young women reveal about the unconscious dynamics of Laurey’s dilemma?

Has Laurey unknowingly performed a ritual of dream incubation?  She drinks the “Elixir of Egypt,” sleeps in a special place, focuses her mind on a particular question as she drifts off, and then has a dream relating to her question.  That’s pretty much the definition of a dream incubation ritual (as per Kimberley Patton.)

Is Laurey’s dream a threat simulation, along the lines of what Antti Revonsuo has proposed?  Revonsuo focused on recurrent chasing nightmares as an instance of dreams that simulate a possible threat and rehearse our response to it, so we’re better prepared in waking life if that threat should actually arise.  Laurey has a dream of Jud threatening to kill Curly, which is indeed a realistic appraisal of the dangers in her waking life.

Is her dream a sexual wish-fulfillment, as Sigmund Freud would say?  In 1940’s New York City, it’s a fair guess the Oklahoma! creative team knew about psychoanalysis and its theories about unconscious sexual desires.  Laurey certainly has a more intense and erotic interaction with Curly in dreaming than she ever does in waking.  The dream’s sexual charge only grows with the appearance of Jud’s postcard girls, who stir up even more libidinal energy, with less romance and more raw carnal desire.  And poor Curly with his limp gun…

Is Jud a shadow symbol for Laurey and the whole Oklahoma community, as Carl Jung might suggest?  From the very beginning of the play Jud is portrayed as dark, crude, rough, hairy, animal-like, stupid, and inarticulate.  He lives alone in a “smokehouse,” seething with unfulfilled instinctual urges.  He could be seen as a radical Other, in the symbolic lineage of Lucifer, Caliban, Gollum, and Darth Vader, the embodiment of all the darkness that is not allowed into the light of conscious awareness, and thus banished to the depths of the unconscious.

Does Laurey misinterpret her dream?  How exactly is her action upon awakening (choosing Jud over Curly) justified by what she has dreamed?  In both fiction and real life, people who instantly interpret their dreams usually get it wrong.  The quick response often overlooks deeper, more important meanings that the conscious mind may be all to ready to move past.  (I call this “the Odyssean fallacy.”)

Does Jud misinterpret his dream?  Same question—why does Jud think the action he takes (aggressively demanding Laurey’s affection) is justified by his arousing yet frustrating dreams of the postcard girls?  What might he be overlooking?

Finally, how will the OSF creative team reimagine this classic work for a new century and a new America?

I can’t wait to see!

 

Reference: Tim Carter, Oklahoma!: The Making of an American Musical, Yale University Press, 2007.

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Moving Dreams

Following the death a few weeks ago of Jeremy Taylor and his wife Kathy, I spoke with their daughter Tristy, and we agreed that I would take responsibility for moving, storing, and preserving his professional books and papers.  Tristy understands that her father had a major influence on the contemporary study of dreams, and his works will have an enduring historical significance for the field.  I told her that my wife and I have recently begun working with an architect to design a study and library devoted to dream research on property we own near Portland, so I can offer a place where his collection will be available to other dream investigators in the future.

In assuming this responsibility, I did not reckon with the fact that Jeremy apparently kept every single book he ever owned in his entire life.  He loved his books, and he obviously drew great inspiration from their physical presence.  However, to someone who did not share his (and my) bibliophilia, his collection appeared rather daunting.  That, at any rate, was the response of the moving company estimator.  When I met him for an initial survey of the house, he spent a couple of hours sighing, shaking his head, and measuring shelf lengths.  He finally told me he’d never seen anything like it.  There were approximately 300 boxes of books to pack up, with a total weight of around 15,000 pounds.  It would take four guys a full day to get it all ready for the truck.

15,000 pounds of books.  Seven and a half tons.

I’m going to need a bigger library.

Last Friday the packing crew arrived at the house at 7 am.  There were four guys, none of them especially happy to be up at that hour.  When they got inside the house, their momentary elation (just books, no couches or dressers!) turned to dread when I showed them the full extent of the job (oh my god, how many f***ing books are there??).  We got to work, and to be honest, it was a struggle for the first few hours.  The quarters were tight, the air was stale and musty, and the books came in all shapes, sizes, and conditions, which made the packing process much more complex than it usually would be.  Several shelves had extra shelves behind them, so it literally seemed like the books were multiplying.  The more the guys packed, the more books there were to pack.  Suffice it to say, morale was low and tempers were short.

And then something cool happened.  The books began to work a kind of magic.  As the guys settled into the rhythm of removing the books from the shelves, wrapping them in paper, and placing them in the boxes, they inevitably noticed the covers, titles, and recurrent themes.  Dreams, dreams, dreams.  Mythology from all over the world.  Tricksters.  Ancient religions.  Jungian psychology.  Graphic novels.  Science fiction.  Surrealist art.  Poetry.  Weird stuff that’s hard even to categorize.

I heard them discussing these topics while they packed, as it dawned on them what this huge and very focused collection of books said about a person’s view of the world. They asked me a few questions about Jeremy, and over the course of the afternoon I told them about his life and works, and the importance of these books to him and to our field of study.  Naturally this got them talking about their own dreams, and their personal speculations about the powers of the human mind.  I wouldn’t say they were whistling while they worked, but it did make the time pass.  Each of them seemed to find something of special interest among the dusty tomes that made them pause and ponder for a moment.

They finished the day with a burst of energy (it was Friday, after all), and before they left at 6:30 pm I gave them each a copy of Where People Fly and Water Runs Uphill.  I knew this was risky—they might never want to see another book again—but if they didn’t want it, they could just give it to someone who did, and Jeremy would be happy either way.

Whether or not they keep their books, these guys were clearly moved by Jeremy’s passion for the study of dreams.  I’m pretty sure they will henceforth look at their own dreams in a different light, with more curiosity about exploring their multiple dimensions of meaning.

As they drove away and I locked up the house, I thought, if this experience were a dream… I would interpret it as a vivid reminder that Jeremy’s books still have the power to teach and enlighten.  Aha!

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The Power of Rebound Dreaming

There is a surprisingly easy way to stimulate an intense phase of dreaming, if you’re willing to take advantage of the “rebound effect” of sleep deprivation.  The rebound effect is a term for when a person sleeps longer than usual after a period of sleeping shorter than usual.  The magnitude of the rebound depends on 1) the severity of the sleep deprivation and 2) the freedom to sleep without awakening after the deprivation.

I just had a personal experience of this process, although I didn’t exactly plan for it.  My wife and I had seen a play the night before (the excellent “Astoria, Part 2” at Portland Center Stage), and I didn’t get to sleep until much later than I usually do.  I had to get up early the next morning, so my overall sleep that night was less than 2/3 of my usual sleep.  Not drastic sleep deprivation at all, but enough to set the rebound effect in motion.

The next night I went to bed at my usual time, but I made the mistake of not bringing my phone with me, which has the clock I use at night.  I woke up after being asleep for a long time, and figuring it was morning I got out of bed, left the bedroom, went to the kitchen—and saw from a thermostat clock that it was 3:30 am.  I didn’t want to disrupt my wife, so I went to another bedroom and buried my head under the pillows, hoping I’d fall asleep again.

I did, for another four hours without interruption, during which time I had a phase of unusually intense and dynamic dreaming.  Most of my dreams are in the range of 70-80 words per report; this dream was more than 400 words in length.  It had instances of all five major emotions (fear, anger, sadness, happiness, wonder/confusion), characters from three different ethnicities, a wild golden lion, and a fast-moving skunk.  Suffice it to say, it was quite a memorable dream.

This is exactly what the science of sleep and dreaming would predict: after a period of diminished sleep, the brain responds with a period of enhanced sleep, which naturally includes more energetic and extensive dreaming.

You can benefit from this process in your own life, the next time you have a night or two of shortened sleep then get to sleep without interruption.  The key is allowing your dreaming imagination as much freedom as possible on the “rebound” night, especially at the end of the sleep cycle, when the brain is most active and dreams are most likely to occur.  If you can let yourself sleep until you naturally awaken the next morning, you will very likely be rewarded with a stellar creative effort by the inner artist who creates your dreams.

 

Note: this post first appeared in Psychology Today.

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DreamRev: The Many Contributions of Jeremy Taylor

The Rev. Jeremy Taylor was one of the most prolific dream speakers and teachers of modern times.  He traveled to every corner of the U.S., and to many countries around the world, reaching out to people and promoting greater awareness of dreaming.  He combined his background as a Unitarian-Universalist minister with a deep familiarity with Jungian archetypal psychology to not only help people better understand their dreams, but to get them excited and energized about the amazing adventure of psychological growth and spiritual discovery that opens up once they start paying more attention to general human experience of dreaming.

That was certainly his effect on me.  One of the clearest signs of that effect is how often I turned to him when organizing a new collaborative project.  Over the years I have edited or co-edited six books, and Jeremy wrote chapters for four of them—by a large margin, he is the all-time champion of contributors!

These chapters covered a wide range of topics, yet they all revolved around a perennial set of concerns.  Here are some excerpts, to give a sense of

In Among All These Dreamers: Essays on Dreaming and Modern Society (SUNY Press, 1996), Jeremy’s chapter is titled “Traversing the Living Labyrinth: Dreams and Dreamwork in the Psychospiritual Dilemma of the Postmodern World.”  Here’s a passage that expresses his conviction about the power of sharing dreams in group settings:

“When people gather together to explore their dreams, they enter into a process which challenges and promotes withdrawal of the projections, denials, and self-deceptions that fuel the collective dramas of gender, race, class, and other oppression. The emotional, psychological, and ultimately spiritual information revealed by the successive layers of ‘aha’ recognition of the multiple meanigns that are woven into every dream inevitably brings the people involved in the process closer to their wellsprings of archetypal creative energy. My own experience in working in prisons, community organizing projects, and the like, has convinced me that all dreams serve evolving health and wholeness, not only for the individual dreamer, but for the society, the species, and the cosmos as a whole.” (154)

In Dreams: A Reader on the Religious, Cultural, and Psychological Dimensions of Dreaming (Palgrave, 2001), Jeremy wrote a chapter titled “Group Work with Dreams: The ‘Royal Road’ to Meaning.”  His essentially positive, optimistic, and growth-oriented perspective comes through in this passage:

“One of the most important self-deceptions that dreams regularly address is the sense that a situation is hopeless and that there is nothing the person can do about this situation in his or her life.  In my experience, no dream ever came to anyone to say, ‘Nyeah, Nyeah—You have these problems and there’s nothing you can do about them!’ Thus if a person has a dream and understands upon awakening that the dream makes reference to a seemingly unsolvable problem in his or her waking life, it means that, in fact, some creative, potentially effective response is possible, and in the service of health and wholeness the dream is directing the dreamer’s attention to those as-yet-unperceived possibilities. If this were not the case, the deam would simply not have been remembered. In fact, this is a generic implication of all remembered dreams: If a dream is remembered at all, it suggests that the dreamer’s waking consciousness is capable of playing a creative, positive, even a transformative role in the further unfolding of whatever issues and situations are taking symbolic shape in the dream.” (198)

A book I edited with Kate Adams and Patricia M. Davis, Dreaming in Christianity and Islam: Culture, Conflict, and Creativity (Rutgers University Press, 2009), has as its final chapter a work from Jeremy titled “The Ambiguities of Privilege.”  Here he talked about the ambiguous role of dreams in institutional religions:

“Whenever religious hierarchies grow physically, emotionally, and theologically distant from their less educated and more humble followers over extended periods of time, this archetypal drama of fundamentalism and renewal is awakened and energized once more. Because of the universally privileged position dreams and dreaming occupy in the sacred narratives of the world, a return to lay interpretation of dreams also tends to emerge as a universal element in this repeating drama in its early stages. But the spontaneous, inspired interpretation of dreams brings with it its own set of problems and difficulties.” (244)

The collection Teaching Jung (Oxford University Press, 2012), which I co-edited with Clodagh Weldon, has a chapter by Jeremy titled “Teaching Jung in Asia.”  Here he expresses some of the core questions that animate his exploration of dreams:

“It is my own evolving understanding of Jung over the decades that has led to the evolving ‘ministry of dream work’ that I have now pursued for more than forty years as a Unitarian-Universalist minister. Following Jung’s lead, I begin with the assumption that all dreams (even our worst nightmares) come in the service of health and wholeness and speak a universal language… In my experience, all dreams remembered from sleep ask the same basic psychospiritual questions: Who am I, really? How fully am I giving creative expression to this only partially conscious genuine self? What, specifically, can I do to move more in the direction of authentic health and wholeness, not only for myself but also for the species and the planet as a whole?” (199)

And it should be noted that in all these edited book projects, Jeremy was always among the first contributors to finish his draft and the first to respond to editorial requests for changes and revisions.  He wrote as he spoke and taught, with tremendous grace, boundless passion, and a remarkable fluency of language.  His was a singular voice in the study of dreams.