On a recent nightly news, I witnessed the tragic scene of a Turkish father wailing over the bodies of his wife and young children who had been crushed under debris from the February earthquake. Tears flooded my eyes and my body bent into the posture of mourning; the emotional distress of a stranger a continent away had become my own. Was this an automatic empathic response, an act of mimicry or emotional contagion? How do these affective states differ?

In “The Social Neuroscience of Empathy,” social neuroscientists Tania Singer and Klaus Lamm define mimicry as “the tendency to automatically synchronize affective expressions, vocalizations, postures and movements with those of another person.”[i] If I see you crying, I cry, but my response is automatic and not the result of my ability to feel what you are feeling. In one study, when participants were shown photographs of sad faces, their pupil size mimicked the pupil size of the people in the photographs they were shown.[ii] This provides evidence that mimicry occurs outside our awareness.

Emotional contagion, like mimicry, is related to empathy and is sometimes thought of as a primitive type of empathy in which one person “catches” another person’s emotions. The word “catches” reflects the infectious quality of the phenomena. For instance, before they have developed any sense of an individual self, babies cry when exposed to other crying babies. Anyone who has attended a tense football game or soccer match can feel emotional contagion at work in the crowd.

Emotional contagion can occur at political rallies, in combat zones, in mass protests and revolutions, at public killings, or in ecstatic religious rites. Within families, emotional contagion can set the tenor of a household. A sensitive child may absorb a mother’s non-verbally expressed depression or a father’s pent-up anger and feel it as their own.

A personal experience comes to mind: when my sister was diagnosed with early Alzheimer’s, I had difficulty separating her family’s panic from my own unexamined feelings and was swept up in the family trauma. At that moment, my feelings were undifferentiated from the family’s. The ability to be attuned to the inner lives of others is a great asset for me as a novelist who delves deeply into her characters’ unconscious fears and desires; but my characters’ problems stay on the page, not in my heart.

An undifferentiated self is unable to identify, protect and separate their thoughts, feelings, and intuitions from those of others. Differentiation requires self-awareness and the ability to know one’s internal world and express it to others without fear. While it’s important to be aware of the emotional state of others, internalizing their distress can quickly overwhelm and incapacitate helpful action based on altruistic love.

Perhaps not surprisingly, current social neuroscience research points to gender differences for men and women in studies on empathy. In the largest study to date in 2022, Cambridge University scientists performed 312,579 “Reading the Mind in the Eyes” tests on adolescents and adults across 57 countries and found that women on average scored higher for “cognitive empathy” in 36 of the 57 countries. In no country did men score better on “cognitive empathy.”[iii] Cognitive empathy is when someone is intellectually able to understand what someone else is feeling or thinking. Researchers distinguish this from affective or emotional empathy when someone feels another’s emotions and responds with an emotion.  In this test, participants were asked to guess the facial expression just by looking at a pair of eyes. You can take a version of  this ten-minute test here.

Empathy is the capacity to put yourself in another person’s shoes and is foundational to our existence as social creatures. Without empathy, we would be unable to perceive the suffering of others and take steps to alleviate it. Without empathy, we would feel lost and alone in a cold and indifferent universe.

As Lamm and Singer take pains to note, “Empathy crucially depends upon self-awareness and self/other distinction, that is, on our ability to distinguish between whether the source of our affective experience lies within ourselves or was triggered by the other.”

Mimicry or emotional contagion usually precede empathy which precedes sympathy and compassion, which in turn may lead to prosocial behavior.

But empathy burn-out is also a fact of life, especially for those engaged in caregiving services. Richard Davidson, Founder and Director of The Center for Healthy Minds at the University of Wisconsin-Madison, is a renowned and rigorous investigator of the neuroscience of happiness, compassion, and empathy. Functional MRI scanning has enabled Dr. Davidson and his team of scientists to study the brains of His Holiness the Dalai Lama and other long-term meditators and monks. One conclusion Davidson has drawn from his research: while the ability to feel our common humanity is essential to a cohesive, caring world, empathy without the skill of compassion diminishes our capacity to be of help.

Compassion is other-centered (feeling for); empathy brings us back to a focus on our own suffering in response to the suffering of others (feeling with). During the height of the COVID pandemic, we saw medical personnel and other front-line workers expressing mental and physical exhaustion, what popular science calls “empathy fatigue.” This is not limited to the helping professions but can occur within families and groups where difficulties may abound.

As Richard Davidson writes, “When people experience raw empathy, regions of the brain associated with pain and negative emotions become more active rather than the brain regions associated with positive feelings and a capacity to view things from another’s perspective. But with compassion, it’s a different network. It’s brain regions associated with positive emotions, feelings of connection, and the ability to see from someone else’s perspective.”[iv]

To cultivate compassionate regions of the brain, Davidson suggests noticing what small gestures we can undertake when someone needs help—offering to carry a heavy grocery bag for an elderly person or aiding someone in crossing a busy street. Infinite possibilities exist for enacting daily random acts of kindness. Dr. Davidson and other spiritual teachers offer guided meditations on fortifying the neural networks for compassion. Big changes are not necessary to alter our attitude and understanding of how individuals can contribute more fully to a more compassionate world.

[i] Singer T, Lamm C. The social neuroscience of empathy. Ann N Y Acad Sci 1156: 81-96

[ii] Harrison, N. A., Singer, T., Rotshtein, P., et al. (2006). Pupillary contagion: Central mechanisms engaged in sadness processing. Soc. Cogn. Affect Neurosci., 1, 5–17.

[iii] Greenberg, David M. Sex and age differences in “theory of mind” across 57 countries using the English version of the “Reading the Mind in the Eyes” Test, PNAS,  September, 2022

[iv] Davidson, Richard “Shift from Empathy to Compassion,” Healthy Minds Innovations, December 8, 2020

This post appeared in a slightly different form on Dale’s blog on Psychology Today. You can find all of Dale’s blog posts for Psychology Today at “Transcending the Past.”

If you found this blog interesting, you may also enjoy “Art and Empathy: Who Gets to Tell Your Story?” and “Dreams and Our Need for Empathy and Imagination”.

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Despair, boredom, restlessness, fear, worry, lack of pleasure: these are conditions that have haunted so many of us during the pandemic and interfered with our feelings of joy and accomplishment. One resource that’s always available to us is our creativity.

Leo Tolstoy, the great Russian author, touched on what makes art so powerful in What Is Art?

“The activity of art is based on the fact that a man, receiving through his sense of hearing or sight another man’s expression of feeling, is capable of experiencing the emotion which moved the man who expressed it. … And it is upon this capacity of man to receive another man’s expression of feeling and experience those feelings himself, that the activity of art is based.”

Art is the passing of feeling from one human heart to another. We pass on the feelings that we have in our hearts to others.

After witnessing on TV George Floyd’s murder, I felt speechless, mute, but also compelled to “say something.” But what could I, a white woman very far removed from Mr. Floyd’s world, contribute? I did not want to appropriate a story that was not mine, and yet I was deeply unsettled and needed to find my words. The result of this inner conflict surprised me.

I don’t just write for Psychology Today. I write fiction and I am deep into work on my second novel. But my original training and background is as a poet. When George Floyd was murdered, I hadn’t been writing poetry for quite a while. And yet, something rose in me. The tension I felt to speak against violence, oppression and privilege, about victims and perpetrators, sprung forth in what became a series of fifteen new poems. They are now a section of my forthcoming book of new poems.

The poems are in the voices of women who have suffered violence, mothers who have lost children to war or disaster, women in exile, girls kidnapped by rebel forces. I felt I could get inside their skins because I know about loss too, perhaps not as dramatic a loss as in these cases, but I know I carry in my DNA the grief of ancestors and a lineage of persecution and diaspora. My novel-in-progress, The Lie of Forgetting, delves into the enduring pain of intergenerational trauma.

Empathy enabled me to write my poems. Difficult times invite us to cultivate our inherent capacity for empathy by exposing us to suffering, to feel into the pain with our entire being, and to understand that when we give these feelings form, as we do when we make art, they are redeemed from the darkness. We take what’s inside ourselves and objectify it so that we can walk around it and study it, so that we represent our private reality outside ourselves and offer it to the culture. We don’t have to “learn” empathy as much as allow ourselves to feel it.

Feeling connects us with what is most vital and powerful within us. It’s one of the ways we know we are alive, and a barometer of what matters to us. Fear, sadness, rage can be great motivators to create, but we don’t need to be embedded in catastrophic events for our creativity to flourish. We do, however, need the courage to be vulnerable to our own truths and realities.

The path forward is like a hero or heroine’s journey in which we set off into the unknown, unsteady and unsure, but with a sense of urgency. Along the way we meet demons and obstacles. Many times, we desperately want to turn back. But an unnamable faith urges us onward. When the hero or heroine attains the treasure, she returns with it to her place of origin, refreshing and renewing the culture.

To make art we first have to believe that making it matters, which is a serious and profound question in a world filled with very real, very concrete struggles. Why create art if we don’t think it matters?

In a world such as ours, might we not conclude that art is superfluous, an indulgent privilege of certain classes and populations? Might we not ask: how can my poem or my painting or my song matter in the grand scheme of things, and therefore, why should I spend time and energy in that direction? My answer is a resounding yes!

Our desire to create springs from the depth of our soul. This urge is hardwired in our chemistry. One piece of evidence for this is that, across time and cultures, some form of art has been with us since humans walked the earth.

Seventeen thousand years ago, Paleolithic people descended into caves in southwestern France, and blowing mineral pigments through tubes, painted scenes of hunting and other ritualized activities on the rock walls. The cave spaces are assumed to have been spiritual sanctuaries that were decorated with pictures of horses, oxen, birds, and people, and it may be guessed from these gestures that art’s origins are linked to a human need to document our lives and to create a sacred space for ceremonies in which we connect to the divine.

Art creates new forms and visions that help us survive. Gospel, hymns, blues, jazz were born out of the joys and tribulations of a people. In the Nazi ghettos and death camps, the persecuted made drawings and paintings, wrote poems and stories that leave a testimony of how they lived, suffered, and died. The friends and families of the disappeared in Latin America; the incarcerated, interned, and exiled in camps and gulags and on reservations; the political prisoners in China and in other Asian countries have all left us their poems and stories and paintings. The need to tell our stories and to bear witness urgently pushes us to find our voice. The personal is always political. In an interconnected universe, what happens to you influences me and everyone else – and vice versa.

The brilliant writer and thinker James Baldwin said: “People are trapped in history and history is trapped in people.” What he meant is that not only are we born into a particular time in history, but we are born into a particular family with particular struggles and life experiences and backgrounds. This is our material. This is what we bear witness to and document in our stories, songs, paintings, dances.

You may be listening to this and saying, “What does this have to do with me?” Maybe it feels like you are in exile and you spend every day trying to survive in a system founded on oppression and colonization. Or maybe you say to yourself, “I’m not in a death camp. I’m not in exile. My issues are minor compared to these.” In both cases, the question remains, “Why are my work and my voice important?”

Believe me, it is.

What we all share is a desire to give form to something that has not been expressed ever before. It is our own individual stamp on the ineffable sorrows, joys, pain, anger, sufferings that compose our lives. Each one of us lives a life that contains these things and so each one of us has a unique perspective, an individual way we view the world. Our individual perspective is what composes the whole, the collective, and each of us participates as actor and witness in creating a society.

This means that in some ways, we are already prepared, and we already have the raw material to create. We come to our creative being with a personal temperament, with specific social circumstances, with specific historical circumstances, with our ancestral influences, with inclinations, and with a great deal that we don’t know about ourselves, that is, with a great deal of mystery.

Please know you already have at your disposal all the material you need. If you can allow yourself to follow your curiosity even into states that are uncomfortable, like anxiety or depression, and become the observer of them, and seek to find within them some nugget of worth, you will discover that inside these darker elements there is often a hidden treasure, a gift. This, I believe, is the deep secret of art. It is life-restoring and life-enhancing for both the creator and her or his world.

Art is a bridge to empathy, to connection with our pack. Because humans are pack animals, we suffer when we become isolated. Isolation, loneliness, despair are the breeding grounds for our darker emotions. But the act of creation is life-giving. This is the reason why writers sometimes refer to completing a book as “giving birth” or “having a new baby.”

In my own experience, the ability to focus intensely on a project provides a buffer from worry and anxiety that is so much with us during this time of uncertainty. No matter what comes of the attempt, there is satisfaction and a sense of accomplishment in the effort. Crucially, a sense of hope is restored.

Experience, that is our material, all of it, the good, bad, the ugly. What is it you will remember most about this time of the pandemic on planet Earth? What is pressing inside you to get out?

As the great jazz musician Charlie Parker once said, “If you don’t live it, it won’t come out your horn.”

One of my favorite things in the world is discussing with book clubs the themes of this post – creativity and empathy – as well as the themes of my novels and other posts – resilience, writing, intergenerational trauma, mother/daughter relationships, Carl Jung and Jungian therapy, dreams, and even fairy tales. If this interests you, please find my contact info here.

This post appeared in a slightly different form on Dale’s blog on Psychology Today. You can find all of Dale’s blog posts for Psychology Today at “Transcending the Past.”

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Sometimes a book we’ve had for years falls off the shelf at just the right moment. I read James Hillman’s book, A Terrible Love of War, in 2004 when it was first published as a response to 9/11. In this, his 28th book, Hillman sought to examine the archetypal roots of our “madness for battle,” the “myths, philosophy, and theology of war’s deepest mind.” He was moved to write it because of what he found missing in other books about war. He rejected, for instance, Susan Sontag’s concluding assertion in Regarding the Pain of Others:

“We can’t imagine how dreadful, how terrifying war is and how normal it becomes. Can’t understand. Can’t imagine. That’s what every soldier, every journalist and aid worker and independent observer who has put in time under fire and had the luck to elude the death that struck down others nearby stubbornly feels. And they are right.”

“She is wrong,” Hillman counters, “If we want war’s horror to be abated so that life may go on, it is necessary to understand and imagine.”

In an interview years after he was secretary of defense, Robert McNamara stated that the catastrophe of the war in Vietnam over which he presided pointed to “a failure of imagination.” Years later, comparing our unpreparedness for the attack on Pearl Harbor with that on the Twin Towers, National Security Agency director Michael Hayden famously said, “perhaps it was more a failure of imagination this time than last.”

For both men, a failure of imagination implies a failure to apprehend a reality that is present but hidden or incomprehensible, which is to say, that we do not apprehend we cannot comprehend. In order to understand and respond to something, we must first be able to see it.

Muriel Rukeyser came to a similar conclusion in 1949. In The Life of Poetry, she writes: “We are a people tending toward democracy at the level of hope; on another level, the economy of the nation, the empire of business within the republic, both include in their basic premise the concept of perpetual warfare. It is the history of the idea of war that is beneath our other histories…But around and under and above it…is the history of possibility.”

It is this sense of hidden possibility, of renewed inspiration that now urgently calls for my attention. A failure of imagination implies a failure of empathy, our ability to stand in another’s shoes. Empathy and imagination seem to many the weak sisters of rigorous rational thinking, and yet, might they be an avenue to creative change? This strikes me as critical for us now as individuals and as a society. Can a Clinton voter imagine the anxieties of a Trump voter? Can a Trump voter imagine the fears of a Muslim?

We live at a time of enormous turmoil and transition, a time when re-apprehending and re-comprehending how we view the world is crucial, and re-examining the governing modes of how we make meaning timely.

Einstein said we cannot solve our problems with the same thinking we used when we created them. He also said the true sign of intelligence is not knowledge but imagination. We often forget that each of us has our own ready source of imagination in our production of dreams. Each of us possesses a variety of marvelous, fantastic, even weird images and scenarios remembered from our nightly vision. Here, in our own production studios, we might discover creative insights that have the potential for personal and cultural transformation.

Listen to Einstein describe a dream he had as a teen:

“I was sledding with my friends at night. I started to slide down the hill but my sled started going faster and faster. I was going so fast that I realized I was approaching the speed of light. I looked up at that point and I saw the stars. They were being refracted into colors I had never seen before. I was filled with a sense of awe. I understood in some way that I was looking at the most important meaning in my life.”

Later in life, Einstein reflected, “I knew I had to understand that dream and you could say, and I would say, that my entire scientific career has been a meditation on my dream.” This dream led to him figuring out the mathematics of relativity theory.

Freud and Jung have argued that our dream images are not random and without meaning; with scrutiny, we can find that they contain a secret language of symbolic representation. These representations are both individual and personal, arising out of our unique experiences, but connected, especially in Jung’s interpretation, to a collective unconscious.

Structurally, dreams unfold as series of sights, sounds, and feelings that do not necessarily make logical sense. The interpretation of dreams relies upon their metaphoric and associative logic, the juxtaposition of unlikely or unrelated elements that can evoke surprising meanings. This is how many poems “work.” Take these lines from “Blue Mountain,” a poem by Roberta Hill Whiteman.

“Crickets whir a rough sun into haze.”

And “I sweep and sweep the broken days to echoes.”

To parse these lines would be to destroy their music and cadence and beauty, but we get what she means! To quote Rukeyser again: “A poem is not its words or its images, any more than a symphony is its notes or a river its drops of water…” The work a poem does, she writes, is to transfer human energy, “and I think human energy may be defined as consciousness, the capacity to make change in existing conditions.”

Poetry and dreams originate in that part of our psyche involved in our archetypal roots and mythic imagination. Einstein is only one example of how the geniuses of science and industry – and artists – respond to the world and its problems with the force of their imaginations, by “thinking outside the box.”

This is the route of mystery and surprise, of new conjunctions and startling awarenesses. As André Breton wrote in his Surrealist Manifesto, “I believe in the future resolution of these two states – outwardly so contradictory – which are dream and reality, into a sort of absolute reality, a surreality…”

Freud and the Surrealist artists he inspired looked for ways to expose the deeper substratum of psyche by freeing oneself of the ego’s conscious control. The use of drugs helped, as did alcohol. Automatic or spontaneous writing, collage, assembling unlikely elements into a painting freed artists from the constraints of tradition and conventional imagery. These methods of accessing the unconscious continue to be popular today. Writing workshops, workshops on trauma and addiction often use uncensored journal writing as a means to reach into dissociated aspects of self.

Becoming conscious is a lifelong task. Our dreams beg to be brought into the daylight world, to be honored, to be understood. And perhaps one of us will find within our dreams the insight or idea that might generate the transformation in empathy and imagination that James Hillman seeks – and which would benefit all of us.

This post appeared in a slightly different form on Dale’s blog on Psychology Today. You can find all of Dale’s blog posts for Psychology Today at “Transcending the Past.”

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