Thursday, March 17, 2011

Happiness in the Brain

This is a continuation of my notes from the Happiness Conference at Stanford. This is taken from the presentation by Rick Hansen.

It appears that we have three distinct brains operating in our head: the lizard brain, the mammalian brain and the primate brain. Each brain has its own agenda and influences our responses to the environment accordingly.

The lizard brain, located in the medula olongta or brain stem, is concerned with avoiding harm. It's a genetic holdover from our evolutionary past and very useful in the wilderness or the big city.  From the lizard perspective, the world is a dangerous place full of predators that can gobble it up. The lizard brain is always on the alert for signs of danger.  It's response to danger is to flee and hide. The news media seems to be stimulating this part of our brain with information about the bad economy, the dangerous government, the destruction of the planet. If you react to disturbing news through escapist pursuits like television, computer games, drugs and alcohol, your lizard brain is in charge.

The mammalian brain is interested in rewards and pleasure. Although I don't know where this brain is located because I was busy writing notes when Rick showed it to us on the big TV screen, I am very familiar with it. The primate brain seeks those things that give pleasure and satisfy physical desires e.g. thirst, hunger, sex and warmth. A lot of our advertising targets the mammalian brain with pleasure visuals, especially those relating to sex. I think our food seeking drive may be more motivated by smell than vision. So when they start making "smellevision," watch out!  My spiritual teacher once told me the food vendor's trick of frying onions.  You don't have to sell the onions, just fry them and the people will come and buy whatever food you are selling. So if your response to stress is to eat, you know your mammalian self is on the ball.

The primate brain focuses on social bonding. It feels good to be in association with others. Caring and caregiving is programed into the primate's DNA. We need each other, at least our families and probably our tribe in order to survive in a primate world. Connection to our state or nation is more problematic and not part of the DNA. See Francis Fukuyama's new book The Origins of Political Order for a seminal work on the subject of nation bonding. Nonprofit organizations are stimulating your primate brain when they send you glossy pamphlets with pictures of happy third world people holding baby lambs and smiling.

If you pay attention to how you feel and what you feel like doing, you will know which part of your brain is operating at any tine. When the lizard brain is happy, it is calm and when unhappy, it will avoid. When the mammalian brain is happy, it's physical desires are satisfied.  When it is alarmed or stressed, e.g. hungry -- it will approach.  When the primate brain is happy, it is caring and social.  When alarmed it attacks. This scheme can be summerized:

Brain - happy - unhappy
Lizard - calm - avoid
Mammal - content - approach
Primate - care - attack

So what do you do when you're stressed? Hide? Eat? or Attack? Who is in charge? And then ask yourself who is supplying you with your choices.

Monday, February 21, 2011

Secrets of Happiness

Recently I went to a conference at Stanford on happiness. It was very thought provoking and I would like to share some of my notes.

Rick Hansen's presentation was particularly interesting to me as it explained some of the biological underpinnings of our experiences of happiness or unhappiness.
  • Flows of thought leave material traces in the brain. What you think about will impact your brain!
  • Blood flow increases to the area of the brain being stimulated. This can be observed and measured. They have plotted out the effects of various activities on the brain.
  • What we think can change the way genes are expressed in specific cells. In other words, the effects of thought are not transitory or momentary. They change the brain over time.
  • Neurons that fire together, wire together (this is just like what they showed in the film What the Bleep. This is why it's hard to change habits. It takes about 40 repetitions to set a new pattern
  • Imaginary activity also can leave traces in your brain. If you think about what you want to do, it will leave a trace in your brain just like you did it. I suppose that's why pornography is so successful.
  • Attention is like a spotlight. What you "attend to" stimulates specific parts of the brain and that area is strengthened and becomes more developed. The brain is like a muscle. The more you exercise a particular thought, the easier it is to have that thought. Makes sense when you think about practicing a musical instrument. It's not just the hand or mouth that develops, the brain develops too.
 Morale of this story? Pay attention to what you're thinking and doing. It's effecting your brain!

Thursday, February 10, 2011

Asking for help

For nearly eight months after my father was diagnosed with Alzheimer’s, my mother cared for him at home. He had been going down hill for years, but we stayed in denial as long as we could. So by the time his disease was recognized it was quite advanced.

In the years before his diagnosis, my mother accompanied him to college classes and wrote most of his papers. It was my father’s heart’s desire to earn a college degree. But as his illness progressed, the demands of his schooling coupled with the demands of his caring became too much for her. She final begged his physician to tell him he could not continue school, because she was unable to stop by herself.

After his diagnosis my father deteriorated rapidly. It was as though; now that we knew the truth, he could relax and let nature take its course. My mother tried putting him into a daycare program but this was short-lived. An educator by profession, my father began lecturing the other patients with nonsensical strings of engineering phrases. When they failed to pay attention he got angry. The staff could not handle his tempestuous outbursts and soon he was expelled.

Home all the time, my father was a handful. Like a large baby, he had to be dressed, bathed and fed. Several times he wandered off from home and got lost. Later, he became incontinent and unmindful of where he did his business. My mother, blind in one eye from a brain tumor surgery and fighting a recurrence of breast cancer, began to show signs of the strain.

I arranged to have a home health aid visit once a week. This proved unsuccessful. My mother treated the woman like a guest. Thursday mornings were spent scurrying around trying to get my father cleaned and the house presentable before the aid arrived. I asked my mother to let the aid help her. But she could only let the aid sit with him while she attended to other tasks.

Finally I was able to get my father into a respite program that placed him in a nursing home for three days while my mother enjoyed a needful break. Of course he never came home again. Only by stopping was my mother able to realize that what she was doing was impossible.

My mother’s handling of my father illness was neither unique nor unusual. It is not easy to ask for help and equally difficult to accept it. I understand this because I hate asking for help myself.  Partly it’s that ethic of rugged individualism, declaring independence and self-reliance. Also there’s a touch of pride, the assumption, perhaps rightly, that no one can do it as well. And then there is the privacy issue, a strong aversion to hanging out “the dirty laundry.” And let’s not forget the fear of being turned down. A friend of mine recently had a bout of food poisoning that gave her a serious scare. When I asked why she didn’t call me, she countered that she had asked help from a friend who turned her down and was afraid to try again. And don’t we always pick the person who will confirm our worst fears!  However, when it comes to caring for the dying, it is essential that we learn to ask for help as much and as often as needed.

Caring for a person who is dying is not a solo sport. There is simply too much for one person to do: medical appointments to attend, scheduling to arrange, equipment and medicines to procure, new treatments to research, family members to update, and on top of all that, the daily list of a normal busy life. When a dying person becomes bed ridden, the list can expand to include bathing, toileting, moving and adjusting, daily laundry, special meals, drug administration, wound tending and continuous monitoring.

And then there's the emotional component. When my mother was dying, I went back to help her tie up loose ends.  She was sharp of wit, ambulatory and able to handle her own hygiene. All I needed to do was drive her around and fulfill her requests. I don’t think I even did much cooking. Yet very soon, I became an emotional basket case. Was it the cats peeing in my bedroom, the constant blare of the radio, the deer-in-the headlight looks from my brother and sister-in-law as they disappeared into woodwork in their part of the house, or was it that heart wrenching moment when I asked her about tossing a photocopy of one of her sketches and she sighed and said, “I guess I’ll never get to that project.”? My back went out ten days after I arrived and I was on a return flight to San Francisco in less than two weeks. The relationship with my mom was admittedly tricky.  But whose isn’t?

I found helping my friend Marianne to be a much better experience -- partly because I knew the terrain, but mostly because our team was better organized. It also helped that she was in the hospital with all her bodily needs handled by professionals. You could not ask for a more grateful and gracious patient, but watching her suffer was awful. Coordinating with her brother and sister-in-law, her nephew, my husband George, and numerous friends, we were able to be with her most days, and many nights. In between we sorted through her possessions and dismantled her apartment, a very weird thing to do while she was still alive, but necessary given the time constraints of her out-of-town family. Our deathwatch lasted barely two weeks, and yet we were all spent when she finally died.

Asking for and accepting help is essential to a caregiver’s health and survival. Becoming comfortable with it takes practice and a change in thinking. You need to keep reminding yourself that you can’t do it alone, and that trying to do it alone is foolish and dangerous. Exhaustion leads to mistakes, to accidents, to errors in judgment, to illness and even death. If you become sick who will take over? Consider that learning to receive is part of the soul’s journey and certainly part of getting older. It can also be a profound gift that helps us bond with one another. It can deepen our relationship, love and affection.

If you have aging parents, or frail siblings, consider doing some advanced planning. Have a family conference, discuss what is be needed and who is willing to do what. Those who cannot be physically present may assist in others ways, e.g. money, administrative, research and communications.

Friends can be an important resource. Cultivate your friendships with kindness and generosity. Some  will be able to help and others will not, and you can never know which ahead of time. When you do need their help, make a list of tasks covering a wide range of commitment levels so that people may participate, as they are able. Tasks like preparing meals, grocery shopping, housekeeping, gardening and laundry come to mind. You can organize using the website Lotsa Helping Hands. Some people may find the technology off putting. So try a variety of strategies and use whatever works.

If you find you have time to breathe, to go for a walk, take a bath or get a decent night’s sleep, you’re on the right tack.

Wednesday, January 26, 2011

PBS Frontline - Facing Death

Facing Death is an impressive documentary report on end-of-life at the hospital. It is the visual version of Dr. Gawande’s New Yorker article, Letting Go. Only this time the message is directed at us, not the doctors. We are told that almost half of all deaths take place in hospitals and then we are shown just how awful that looks.

The film should be called “fighting death” rather than “facing death” because that is what the people do who are featured in this film. Patients do not want to die and their families do not want to decide for them. They fight death like heroic soldiers in a desperate war. It is wrenching to watch as fragile and failing bodies submit to yet another painful intervention on the wisp of a hope that this time they’ll beat the odds. For most, the end is death, for some it is unconsciousness on a ventilator for unknown years to come.

The medical system is absolved. Although there is always uncertainty, the doctors know the odds and do their best to convey that to their patients. But what can they do in the face of people who don't want to die and families that won't let go? And of course there is always one more thing to be done. And you never know, sometimes patients surprise you.

Throughout the film we are continually reminded of the financial costs of various procedures. Is this why medical insurance is so high? We are informed that the United States is the only country that allows this vast expenditure of resources at the end-of-life. Do you remember the palliative care conferences that were to be paid by medicare until Fox News started calling them "death panels?" They were removed from our new health bill.

The film's vision is true one. Our current approach to death is painful, scary and expensive. See Sharon R. Kaufman's book . . . And a Time to Die -- How American Hospitals Shape the End of Life. Yet I feel manipulated -- by all the images of suffering, the monetary statistics, the compassionate doctors talking to distraught families who resist their advice. The film is intended, I believe, to prepare us for things to come. Big changes in health care are inevitable. The first of the baby-boomer will turn 65 this year. They are the first flakes in the coming storm of aging medical consumers. Our hospital approach to end-of-life will buckle under those numbers. And what will our brave new world look like? I cannot tell you. But I believe that people in this country will need more than fear-provoking film images to change their response to death. They need a palatable alternative, and that the film does not provided.

Monday, January 24, 2011

Films About Life and Death

Below are some films I've recently found in the library and enjoyed.

A Rumor of Angels
There are a number of things to recommend this American film directed by Peter O'Fallon back in 2000. It’s unflinching stance on death very refreshing in this age of doubt and equivocation. The film follows the blossoming relationships between an 11 year old boy haunted by the car accident that killed his mom and an eccentric elder, Maddy, who lost her only son in the Vietnam war. Maddy, played by Vanessa Redgrave, helps the boy face his grief by sharing her own experience. A significant part of this is her journal of communications with her deceased son. “Death,” she is told in heavenly Morse code flashes on the night of his passing "is like stepping off a bus.” The take-no-guff interactions between Maddy and the grieving boy celebrate intergenerational communication, elder-wisdom, and a be-true-to-yourself spirit. It is an uplifting and reassuring film.

The Son of the Bride
This 2001 Argentine comedy/drama about a frazzled restaurateur and his aging parents, is not so much about death as about embracing life. After a sudden heart-attack, this 42 year old divorced man starts to re-think the direction his life has been taking. Fully caught up in keeping alive the restaurant his parent started, he has no time for his girlfriend, his daughter or anything else in his life. Gradually and at times painfully he finds his way back to living. What make this film special are the quirky characters that guide him. The acting and humor are charming in that South American way and the loving relationship between the man’s father and his mother who is suffering from Alzheimer’s is precious. A lot of lessons are learned, both humorous and serious, on the meaning of love, friendship, and marriage.

Monday, November 8, 2010

The Making of Secrets of Life and Death - Part II

In making the film series, Secrets of Life and Death, I was extremely fortunate to be able to interview two people shortly before they died. Rick Fields was a practicing Buddhist and the author of How the Swans Came to the Lake; A Narrative History of Buddhism in America. Tighe Foley was a young man with HIV. Rick’s willingness to be interviewed is not all that surprising. Contemplation of death is a Buddhist practice. Death is impermanence, the nature of all existence. Resistance to change is the source of suffering. Accept change, accept one’s own inevitable death and reduce suffering. I like Buddhism because it is practice-based, not faith-based. You don’t have to believe in God or an afterlife or anything to receive its benefits. Another part of the practice is being of service. Rick agreed to an interview even though he was barely two weeks away from his death as an act of service. He finished his interview saying, “You may as well spend your life helping people. What else is there for us to do.”

I believe that Tighe Foley also wanted to do something meaningful when he agreed to be interviewed for the film. Although a practitioner of the San Francisco Church of Religious Sciences (now The Center for Spiritual Living), he also studied Buddhism. So he certainly absorbed many of its concepts about life and death. But I think his being gay was also part of his willingness to be interviewed. Because of HIV, because so many young men died from this disease, the gay community did a lot of work around dying. They did workshops with Anna Halprin and other therapists. They explored self-assisted death with the Hemlock Society. They wrote plays and did artistic works on the subject. There is a gay person in each of my three films. I think we owe them a lot for all the road maps and trails they have given to guide us.

A year into my filmmaking, I volunteered for hospice. I wanted to have more first-hand experience with dying. I also hoped it might provide some additional leads for my film. The results were so much more. Hospice is required by law to address both the spiritual and medical side of dying. Similar to the Buddhists, hospice provides a generic, nondenominational kind of spirituality that anyone can embrace. But here the focus is more on completing life, finishing up loose ends and saying goodbye. From hospice I learned about the communal aspect of dying – the family of the dying; the nurses, social workers, chaplains, volunteers, aids and others that assist the family; and the community of people I’ve met at team meeting, volunteer trainings and social event that support all of us in our work. It was such a relief to be around people who were not only comfortable with the subject but also understood what I was doing as a filmmaker. Hospice not only provided encouragement for my films but insight into why I’ve spent so many years of my life making and sharing them. It is, I have discovered, both a practice and a healing. But, you’ll have to wait for the last film in the series, Healing Loss, Helping Other, for that story.

The San Francisco Day of the Dead was another source of material for my films. It is one of the principal characters in the third film, The Heart of Grieving, but not as history or cultural underpinnings. There are no interviews here about the Day of the Dead, just emersion into its exuberance, celebration and embracement of death, in its parades, its costumes, its altars and other events. The Day of the Dead, brought to the Bay Area by Mexican immigrants many years ago and now thoroughly imbedded into San Francisco culture, teaches us a different way to deal with death. It brings death out into the open rather than hide it -- to play with it, to be creative, to immerse yourself, to laugh as well as cry. And that’s what it brings to my film.

Not all the people I interviewed make it into the films. This was not because they were unworthy, or their stories were not good enough, or they did not teach me something. They simply did not fit with the other stories that were central to the films. I recall, early on in the editing process, having a dream about a yard full of baby chickens running all over the place and my not being able to corral them. That was my film.

Originally I planned to make a single film with four parts. My editor, Elaine Trotter, the person I hired to tweak my editing and make the film more professional, told me that what I planned would not work. I would either have to rethink all my editing or break it into four films. I struggled with this information for months. I tried reediting and reediting. But each time the film lost something of its heart and so I would abandon it. Then, while co-facilitating a hospice support group, I decided to screen the films for the group members. They loved all four films. They told me to stop dithering and get them out, as is, four separate films. And that is what I have done.

I thank all the people who helped me make these films, particularly those who do not appear. I have learned from you all and I am grateful. And don’t be surprised if one of these days you find an excerpt from one of those neglected interviews streaming from my website, encouraging others to share in cyberspace and expanding the dialogue on this vast subject we call death.

Monday, October 11, 2010

The Making of Secrets of Life and Death - Part I

The film series, Secrets of Life and Death is, in way, a personal documentary about my own journey of healing and transformation after the deaths of my parents. Each film begins with my questions about some facet of the dying process and closes with my observations. In between are the stories of the people who taught me. The films do not pretend to have all the answers, only the answers that worked for me. They are simply a starting point, an invitation to others to share their own stories. This is my story. Does any of it ring true for you? What is your story and how is it different? Tell me so we may all learn from each other.

We are, most of us, uncomfortable with death. It is a difficult subject to explore, on or off camera. Being willing to be interviewed for a film, any film, is a matter of trust – trust that you will be respected, not misrepresented or misused. My focus on death took trust to another level. Death is secret, intimate, and private. In some ways it is a lot like how we used to be about sex, only without much promise of pleasure or titillation. Death is emotional, often unflattering and frequently downright ugly. Who would want to expose themselves that way? Not too many people. I got a lot of no’s, even from people working in hospice.

I began working on Secrets of Life and Death, with a single thread – a book called Who Dies. Shortly after my mother passed, a friend handed me the book and said it helped her when her father died. The book, written by Stephen and Ondrea Levine, was exactly what I needed. Death, it explained, is not failure, not a punishment for eating the wrong things, failing to deal with psychological issues or insufficient positive envisioning. Death is the culmination of life, the goal, the final passage of a spiritual being. And dying, the journey from life into death, is a profound time for healing and transformation.

A few months after I read Who Dies, I saw Stephen and Ondrea speak in San Francisco. I contacted them by letter. It was a bold move. I had just decided to make my documentary. It was my first and I could barely sputter the words, “I’m making a film about death.” Although they declined to be interviewed having recently retired from public life, they kindly pointed me in the direction of a whole cadre of death pioneer living in the Bay Area.

Ram Dass had worked with Stephen and Andrea in the 70’s to explore conscious dying through the Living/Dying Project. A decade later, Frank Ostaseski founded The Zen Hospice Project to serve the local homeless population and refine the spiritual practice of accompanying the dying. Expressive arts and movement artist Anna Halprin used dance to heal her own cancer then lead numerous transformative workshops for people with HIV. Rachel Naomi Remen, co-founder of the Commonweal Cancer Help Program, has been helping bring spirituality to the practice of medicine and treatment of cancer for thirty years. I contacted every one of them and each of them helped me either by being filmed or by referring me to others.

Early on in my interviewing process, I realized that I did not want to make a film of lecturing experts. I wanted personal experiences that came from the heart. I wanted a film people could connect with, that would take them deeper into their own feelings about death. I wanted stories they would remember. I was able to get this sort of personal revelation from Ram Dass and Frank Ostaseski and so they appear in my films, not as experts, but as people struggling with the challenges of death like anyone else.

In Part II, the journey continues with the others willing to address death -- hospice, Buddhists, the gay community and the San Francisco Day of the Dead.