Cifted Education International 2010 Vol 27, pp 84-96©2010 A B Academic Publishers

Deborah FraserDepartment of Human Development & Counselling

School of Education, The University of Waikato, New Zealand

creativity, mood disordersand tiie aestlietic

Abstract

This article explores the sensitivity and mood disorders found in a number of gifted people.Dabrowski's theory of positive disintegration provides the theoretical framework throughwhich issues for these people are examined. Personal narratives and poems from gifted youngpeople provide insights to their sensitivities and struggles. The aesthetic is proposed as oneway in which to understand their needs. There are direct implications for parents, teachers,health professionals, and creative people when mood disorders are considered developmentalrather than purely pathological. In particular, the therapeutic influence of expressing strongfeelings through creative writing has merit in terms of support. Dabrowski's theory and theuse of the aesthetic deepens both our understanding and our appreciation of the gifted.

Creativity, Mood Disorders andthe Aesthetic

There is some debate around thepsychological well-being of the gifted interms of their ability to cope with life'sinevitable challenges. While some arguefor greater adjustment ability (e. g.,Austin & Deary, 2002; Kaiser & Berndt,1985; Neihart, 1999) others attest to theopposite, claiming a higher incidence ofmood disorders compared to thegeneral population. Some of the latterresearch is outlined here and theincidence and consequences of mooddisorders are considered. Mooddisorders are generally categorized into

two groups by the Diagnostic andStatistical Manual of Mental Disorders(DSM IV); these two categories aredepression and bipolar disorder(formerly known as manic-depression).Traditional approaches to mental healthand well-being pathologise theseconditions that a number of giftedpeople experience. While this articledoes not deny the immense challengesand pain mood disorders create, it alsooffers an alternative discourse thatconsiders the creative possibilities whenthe aesthetic is explored. For manypeople but especially the gifted, theaesthetic can be a path for self-knowledge and healing.

84, Gifled Education International Email: deborah@waikato.ac.nz

Who is at Risk?

The most compelling evidence of riskfor the gifted in terms of mood disordersemerges from extensive work on thecorrelation between creativity andmental illness. From classical Greecethrough to the Romantics the notionthat mood disorders and creativity gohand-in-hand has been claimed, andeven expected (Hershman & Lieb, 1998).Aristotle believed that melancholy wasinevitable amongst the best thinkers ofhis time and the Romantics insisted thatmadness was inseparable from genius.In contrast to the historical assumptionsmentioned above, Neihart's (1999)review of the empirical literature foundlittJe evidence to suggest the giftedexhibited any more psychosocialdifficulties than the rest of thepopulation citing similar or lower levelsof depression and suicide than theirpeers. She did add the caveat however,that creative writers and artists were theexception to this trend with "compellingevidence for higher rates of mooddisorders and suicides among creativelygifted writers and visual artists"(Neihart, 1999, p. 14). Nonetheless, sheconcluded that "intellectually oracademically gifted children who areachieving...are at least as well adjustedand are perhaps better adjusted thantheir non-gifted peers" (p. 15).

In contrast. Nettle (2001) found thatmood disorders and creativity oftenruns in families. One sibling may begifted while another may have bipolardisorder. In addition, a family membercan be both creative and bipolar. TJüs ledhim to conclude that creativity andmood disorders are strongly related andare two sides of the same coin. Thegenes that give rise to mood disorders

are often the same that give rise tocreativity. Mood disorders thus, are notentirely negative as the traits can havepsychological benefits as well as costs.To summarise he argued that "the verytraits that make madness possible alsounderlie one of those things that we ashumans most value, namely enhancedcreativity" (p. 187). This perspective hasconsiderable support:

Increased rates of suicide, depressionand manic-depression among artistshave been established by manyseparate studies. These investi-gations show that artists experienceup to 18 times the rate of suicide seenin the general population, eight to 10times the rate of depression and 10 to20 times the rate of manic-depressionand cyclothymia.

Camisón, 1995, p. 49)

Depression and bipolar disordertend to run in artistic and highachieving families. The families ofAlfred Lord Tennyson and Lord Byronare two such examples (Jamison, 1995,1999; Nettle, 2001). A number of twinstudies further confirm this genetic link.When one identical twin is bipolar theother "has a 70 to 100 percent chance ofalso having the disease" Qamison, 1995,p. 48). In Jamison's own study of 47eminent British writers and artists shefound that over a third had been treatedfor mood disorders and half of the poetshad needed considerable medical andpsychological support. She cited a rangeof other studies that corroborate that thegifted experience mood disorders moreoften than other groups. For example,severe depression is rated asapproximately 15 percent of the generalpopulation (Aisbett, 2000; Edwards,2003) whereas Jamison (1995, 1999)

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found that artists and writers inparticular had two to three times thisrate of mood disorders. Most at riskappear to be the poets, with figuresclimbing to 30 times more likely to havemood disorders, 20 times more likely tobe committed to a mental institution,and five times more likely to attemptsuicide than the general population.Hershman and Lieb (1998) go so far asto argue that not only is bipolar disordercorrelated with creativity, but thenumber of geniuses without bipolardisorder are in the minority. In addition,Simonton (1994) found that in somecircumstances psychopathology is the"cost of attairüng greatness" (p. 284).

In the worst of situations theindividual can hide chronic mooddisorders beneath their many copingskills and overt behaviour (Amend,2009) leading to a tragic and devastatingoutcome. An example of this wasreported by a parent of a gifted youngman v ho took his own life:

His long time girl-buddy told usthat, the week before Reed suicided,he'd taken her out to dinner. They'dhad a wonderful time, just likealways. Neither she (nor otherfriends) had seen anything out of theordinary-even after they becameaware of the much touted "suicidewarning signs." Our commonanalysis is that Reed had lived withdepression for so long that he'dlearned to "put on a happy face."And we on the other hand, had justaccepted all the funny little bits-theywere just part of "Reed".

(Cross, Gust-Brey & Ball, 2002,p. 257)

The gifted person's ability to mask

their feelings of despair cannot beunderestimated. The skill required toaccurately assess a young person'spsychological well-being requiressensitive, careful, and intelligentprofessional analysis. Cross et. al. (2002)advised that the prevention of suicide"requires an in-depth understanding ofthe person at risk" (p. 247). This in-depth understanding requires anappreciation of the characteristics andneeds of their creative psyche.Dabrowski's (1970) theory of positivedisintegration can illuminate thepsychology of the gifted, deepening ourunderstanding of their particular needs.It also provides an alternative discourseto the prevalent medical model ofpsychosis and traditional approaches totreatment. This alternative discoursedoes not deny mood disorders but itpositions mood disorders as part of adevelopmental process necessary for anindividual's growth and transform-ation. His theory suggests a number ofimplications for the gifted.

Developmental Potential

Dabrowski (1970) argued that positivedisintegration is a developmentalprocess in advanced development andthat creative breakthroughs can emergefrom this disintegration in terms of whathe called positive maladjustment(Daniels & Piechowski, 2009). His levelsof development (from 1 to 5) suggestthat for advanced developmentexistential challenges are inevitable asthe individual questions his or her basicinstincts (levels 1 and 2) and seek toreach higher levels of development(levels 3 to 5). Level 3 is a significantwatershed in this theory as it is at thislevel that Dabrowski posited that the

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individual feels the enormous tensionbetween 'what is' and 'what ought to be'in oneself. While the general populationexperiences the first two levels, it is onlythe advanced who reach levels three andabove. For Dabrowski then, "certainpsychopathological symptoms (partic-ularly neurosis and even somepsychoses)" are essential in thepersonality development of advancedindividuals (Amend, 2009, p. 86). Inaddition, Piechowski argued that theheightened sensitivity and intensity ofthe gifted is typical of what Dabrowskitermed the over-excitabilities. Skilledmental health professionals whounderstand these heightenedsensitivities of the gifted are invaluablein providing support (Silverman, 1993).Jackson, Moyle & Piechowski (2009)sum up the professional healthapproach required with clarity:

The characteristic of an effectivetherapist to suspend a tendency todiagnose mental illness orpathologize symptoms is crucial.This does not mean, however, that atherapist can ignore traditionalknowledge of mental health issues,nor that she does not need athorough grounding in a reputablecounselling or psychology program.However, a mental healthprofessional needs to keep aconsistent consciousness on thepossibility that supposed symptomsof mental illness might bemechanisms of growth for the giftedindividual, (p. 449)

Dabrowski's original theory onpositive disintegration (1970) stemmedfrom his work in studying and treatingthe mental health of intellectually andartistically gifted children and adults

(Piechowski, 2006). Here again artistsfeature, the group that Neihart believedwas most at risk of mood disorders.What is refreshing even today is that heavoided pathologizing the gifted peoplehe saw in his clinic as delusional orpsychotic, and instead regarded theirangst as inner conflicts of a spiritualnature. Indeed, his extensive study ofeminent and spiritually advancedpeople was crucial to his theory.Wrestling with spiritual concerns andworking towards higher states ofconsciousness inevitably bring periodsof agony and despair. Suchdisintegration and development ispainful and challenging. Many giftedyouth attest to the crippling feelings thatbeset them at times. There are numerousexamples in the literature drawn frominterviews with, and the writings of,gifted young people. These youngpeople lucidly convey their frustration,immense sensitivity, and despair. Forexample:

I am a "deviant". I am oftenconsidered "wild", "crazy", "out ofcontrol", "masochistic", "abnormal","radical", "irrational", "a baby"...orsimply too sensitive, too emotionalor too uptight. "Mellow out", theysay to which I can only respond, "If Ionly could." At birth I was crucifiedwith this mind that has caused meconsiderable pain, and frustration,with teachers, coaches, peers, myfamily, but most of all myself.(Piechowski, 2006, p. 26)

Every decision I make I know why Imade it-even ones made in reactionto something back when I don't havetime to think up front. Even thewrong decisions I know why I madethem. And I know why my mind is

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set up to make those decisions. Andthe worse part about it is that thewhole mess is a trap. Each 'wrong'decision is 'right' by some reason;and I am forced to accept that. I can'teven fix the problem; because eventhough I could get rid of all thisdecision-making machinery of mindwith the help of a good psychologist;there's one further problem.

"I've become the machinery. Todestroy it would be to destroyme...and I can't live while I'mbroken." (Cross et al., 2002, p. 256)

I want to understand how peoplework so I analyse everything thatthey do, to find rules for everything.I guess subconsciously I'm trying tocreate a perfect world. It's frustratingand sometimes I get disgusted atmyself, for being so cold andanalytical.. .1 couldn't relate to any ofmy peers because I was searching fordepth and emotional fulfilment andno one I knew really understood me...I've been finding it harder andharder to interact with peers becauseno one I know takes spirituality oremotion seriously. (Moltzen, 2006, p.6)

"Ben" in the last extract aboveconveys the classic tension described inDabrowski's level 3 (multileveldisintegration) between what theperson sees as the status quo and whatthey feel ought to be. This gap between'what is' and 'what could be' feelsfrustrating, isolating and bewildering.The desire to make meaning wheremearüng cannot be found is evident inthe last two statements. These extractsalso underscore the limitations ofrational thought. Mood disorders

cannot be fully addressed throughsimple rationalization, a point that thegifted quickly seem to identifythemselves: "Rationalizing with myselfwas making me so grey. Overthinkingeverything and determining, 'Why am Ithinking this, what is causing me tothink this, if I was not thinking thiswould this be happening?...It's not justconfusing, it's fairly helpless" (Moltzen,2006, p. 10).

Whether multi-level disintegration ispathological or not, is not really thesalient issue. The issue is that what theseyoung people experience is invariablygut-wrenching, soul searching, andlonely. Dealing with the inevitableloneliness can be very challenging. Theinner turmoil they express is largelyinvisible and the complex interplay oftraits and behaviours that contribute toit can make the gifted feel extremelyisolated and misunderstood Qackson &Moyle, 2009). Feeling isolation like thisis a theme that recurs in the literature.For example, in Rimm's (1999) study of1000 successful females she found thatmost of them had felt sadness and self-doubt from the social isolation theyexperienced at school. Many times, theirabilities set them apart from their peersand the more gifted they were the morelikely to feel excluded. The isolation wasnot all negative as it certainly freed girlsto pursue their avid interests and todevelop deep levels of independence.Moreover, some did find social support,particularly through their areas ofinterest. However, the girls' parentswho were most likely to visit Rimm'sclinic described their daughters as"especially sensitive, bright, creativeand insightful but aren't accepted by theother girls" (pp. 196-197). The in-group,out-group cliques of adolescence can

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exacerbate this phenomenon further.Rimm's advice says much aboutbuilding resilience, despite one'ssensitivity:

Your daughter needs your support toknow that it's all right to walk aschool hallway alone and that beingdifferent and alone some of the timedoesn't make her a bad person.Indeed, successful women need to beindependent and will feel alonemany times. Teach courage insteadof teaching a girl to feel sorry forherself in the name of sensitivity. Shecan be both sensitive and strong.(1999, p. 197)

Rimm's advice that girls can be both"sensitive and strong" underscores theimportance of holding the tension ofapparent opposites in order to buildresilience. Access to trusting people whounderstand the experience of positivedisintegration in all its pain and gaincan also be phenomenally helpful(Daniels & Piechowski; 2009; Jackson,Moyle & Piechowski, 2009; Piechowski,2006). The more sensitive and creativethe gifted individuaL the more at riskthey appear to be to the crushing effectsof such transformative development.Conversely though, the more likely theyare to experience such disintegration inthe quest for self-improvement. Evenawareness of Dabrowski's theory can behealing and insightful for the gifted asthey recognise their 'over-excitabilities'(their sensitivities and intensities) aswithin the range of gifted behaviour andnot abnormal or necessarilypathological. The intensity of feelingsexhibited by many gifted people arepart and parcel of their profound abilityand insights (Daniels & Piechowski,2009; Jacobsen, 1999; Jamison, 1995,

1999; Piechowski, 2006; Rothenberg,1990). Care needs to be taken therefore,not to seek to numb or eliminate thesebehaviours, but rather, to help the giftedlive productively with them.

Nonetheless, the sensitivity that isfelt by many of the gifted can beoverwhelming and crushing. Theperson experiences intense self-criticism, cynicism, depression, and aprofound sense of defeat:

I feel like a man at the world's end,when the greatest chaos of chaosrevolves itself in the utter destructionof everything familiar. There is nomore suffering, only a neutral calmof total resignation. I sometimes longfor the abyss. My life is futility,vanity, dark comedy. I am the masonwithout bricks; I am the sailorwithout a boat; I am the thinkerwithout knowledge. My past is a liefed on lies, my future is a grey stretchof interminable road, and I'm merelya hitchhiker on that road. My mentallife is poverty and pretension. Thedogmas and dictums have worn mysoul thin. What can I scrape from thisempty bowl? I am the chasm thatfalls down itself. What can I find inempty rooms when I carmot findmyself? Qackson & Moyle, 2009, p.105)

The articulate perceptiveness of theyoung man above underscores thestrength of his intellectual, emotionaland creative abilities. Fynn's rich use ofmetaphor is both finely nuanced andpowerful. The vividness of hismetaphors conveys the experience ofdepression at both cognitive andspiritual levels. There is no doubt aboutthe intensity of his pain and his

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existential crisis; his overwhelmingsense of loss, failure and fraudulence. Inexpressing these strong feelings he hasan avenue for being known, being seen,and being understood. Suppression ofstrong feelings like this can magnifymood disorders and anger in particular,when not expressed, can feeddepression (Aisbett, 2000; Miller, 1990).

Thus, the expression of strongfeelings through writing as seen inFynn's piece can serve muJtipJepurposes. It can provide insight forreaders; it can offer up selfunderstanding and while it may bepainful, it can also be cathartic. Jacksonand Moyle reported tJiat Fynn'stherapeutic regime did not includeattempts to eliminate his depth offeeling. Instead, it focussed oncounselling, Jiealthy food, exercise,meditation, music, writing like thatabove and other aesthetic pursuits. Overtime, Fynn's poetry and journal writingrevealed a growing sense of self-acceptance, connection with trustedothers, and a wondrous sense of peace.In other words, it showed development.He wrote, " I have SOME continuingissues with stress, but I am breathingdeep when I feel pains, and at times Ifeel the most relaxed I have been in alooooooong time" (Jackson & Moyle,2009, p. 122).

Understanding and connecting witha deep sense of self can open a door tothe possibility of joy. Indeed, Fynn'swriting reveals both his suffering andhis optimism: "I fought for so long, wasso misunderstood, and now it'shumiliating to me. Just the same it isbittersweet, and that means I have somesweet..."(p. 123). Gifted young peoplelike him need to know that his depth

and complexity of thinking are notnecessarily aberrant or problematic, andthat while his sensitivity to life createsgreat anxiety at times, it can also fosterprofound insights, growth and well-being. It is this well-being that ledDabrowski to term disintegration likethis as positive. With a focus ondevelopment, the individual isunlocked from a perpetual static mire ofdespair. The limitation of moretraditional approaches to pathology isthe tendency for behavioural labels toassume permanent conditions, ratherthan developmental stages that nurtureseeds of renewal.

Not all tJierapists, psychologists andpsychiatrists will have perceptiveinsigJits to the needs of the gifted. AsHenry (2006) discovered "there areliterally hundreds of different schools ofpsychotherapy, often operating fromvery different theoretical orientationsthat are applied in clinical, educational,organizational, and other settings" (p.121). Her comparison of a range ofapproaches with self-report studiesfound that well-being is enhancedtbrough a wider range of approachestJian what is traditionally suggested bymental health professionals. Self-reportsdo not dismiss the value of counsellingand certain medications such as anti-depressants, but they aJso emphasisethe value of exercise, creativeexpression, meditation, spirituality anda sense of purpose. In fact tJ\e latter liststrongly features ways in whicJi peopleachieved lasting positive change in tJieirlives. TJiese broader approaches aremore embodied, more embedded andless analytic than traditional therapyand position the individual as capableof transformative growth. Rothenbergadded, "the best psychotherapy is itself

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a creative process and one that alsofunctions to enhance creativity of alltypes" (1990, p. 179). Psychotherapywith the gifted is often not effective atall unless it is approached as anintentional creative process.Professionals who work with the giftedcan be mindful of the distinctionsoutlined that consider thedevelopmental possibilities withinmood disorders. Any supportiveintervention needs to address theextreme crippling effects of mooddisorders "without sacrificing crucialhuman emotions and experiences"(Jamison, 1995, p. 51). Moreover,Hershman and Lieb (1998) claimed thatmild forms of depression and maniafoster creativity, thus eradicating suchfeelings entirely is counterproductive.For the gifted, aesthetic expression is notonly 'natural' but can be a route to self-understanding. It also providesopportunities for healing and well-being.

A Lens of Paradox and the Valueof the Aesthetic

Noteworthy in supporting thecreatively gifted are opportunities toshare with other like-minded peoplewho have experienced the depths andheights of emotional and spiritualintensity. The extracts from young giftedpeople above provide some solace forothers in similar circumstances who,through reading these, appreciate theyare not alone after all and that theirsuffering makes some spiritual (ratherthan rational) sense. It might seemcontradictory to read about the sufferingof others to alleviate one's own yet thisparadox has some merit. In terms ofpsychological well-being, paradox

appears to be a more fruitful way tounderstand the developmental potentialof the gifted.

There is support for this theory fromresearch on the lives of the gifted.Richards (2007), for example, found thatthe gifted can present with above-average psychopathology (especiallymood disorders) as well as the healthytrait of adapting to reality.Csikszentmihalyi's (1996) study of 91eminent creators across fields rangingfrom science, to business, to the arts,found that the typical personality typeof these creators (regardless of the fieldthey worked in) was a complex ability tohold the tension of opposites. In otherwords, these creators tended to live theextremes and be able to move from oneextreme to the other as the situationdemanded. Moreover, as they movedfrom one end of a spectrum to another,they experienced both with equalintensity. Some of these paradoxicalopposites that co-existed within theirpersonalities include: playfulness anddiscipline; imagination and reality;ambition and selflessness; rebellious-ness and conformity(when necessary);plus being passionate yet objectiveabout their work. It is just this ability tomove between extremes that can appearpathological to an observer but enablesa flexibility that deepens a creator'sability to persist with, and produce, theunique and unexpected. In contrast toNeihart, it was not just the creativewriters and artists that were capable ofgreat suffering. Csikszentmihalyi'sentire sample appeared capable of greatsuffering including mood disorders, butalso capable of great joy. The latter isoften overlooked in profiles of thegifted. Much is made in popular filmand media of the immense suffering and

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mood disorders of Vincent Van Gogh,Sylvia Plath, Virginia Woolf, MichaelJackson and Michelangelo, but muchless is made about their capacity for joy.It seems that society's voyeuristicfixation on suffering makes forentertainment and stories of creatorswho balance the extremes in productiveways are of less interest in the popularmedia.

Thus, creative people seem to holdthe tension of opposites better than mostand it is little wonder that few peopleunderstand this apparent paradox. Inaddition. Smith and Carlsson (2006)found that a positive mood can thwartcreative output and that anxiety "seemsto be a necessary companion of creativeefforts" (p. 228). This conclusion followswhen one considers that comfort withthe status quo is unlikely to stimulatethe change creativity encourages. Butextreme discomfort and despair canlead to depression, anxiety andexistential angst. It seems then, thatthere is both immense struggle andimmense success possible through theparticular sensitivities and moodchallenges many gifted people face.

Paradox also features in some of thebest literature as a way in which peoplelearn to make sense of their lives andemotions. From Shakespeare's "partingis such sweet sorrow" to the poignancyof hard won bitter-sweet insightsmentioned earlier. The following poemby Gendler encapsulates the challengeof living with immense sensitivity andthe strength gained from courage:

Compassion

Compassion wears Saturn's rings on thefingers of her left hand. She is intimate

with the life force. She understands themeaning of sacrifice. She is not afraid todie. There is nothing you cannot tell her.

Compassion speaks with a slight accent.She was a vulnerable child, miserable inschool, cold, shy, alert to the pain in theeyes ofher sturdier classmates. The otherkids teased her for being too sentimental,and for a long time she believed them. Inninth grade she was befriended byCourage.

Courage lent Compassion brightsweaters, explained the slang, showedher how to play volleyball, taught heryou can love people and not care whatthey think about you.

In many ways Compassion is still thestranger, neither wonderful, nor terrible,herself utterly always.

(1988, p. 23)

Gendler's poem on compassionreveals much about the author'sinsights and suggests a depth ofknowing beyond the purely cognitive.The symbolism inherent in suchexpressive writing evokes an intuitiverather than rational response. Meaningmaking through the aesthetic like thisappeals to the depths of one's being. It isthese deepest areas of concern that areoften untouched by education (Grant,2002) yet are central to a sense ofexistential purpose. Parkyn goes furtherto claim that we all need expressionthrough the arts to "give expressiveform to our deep unconsciousperceptions, feelings, and urges" (p. 48).

The young people cited earlierconvey a vivid embodied under-standing of their 'condition' and withintheir creative expression is both insight

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and salvation. Parents, teachers andtherapists who understand the value ofwriting, poetry, metaphor and othercreative arts can tap a valuable resourcefor healing and growth. Moreover, theaesthetic enables a depth ofunderstanding of feelings that isdifficult to express in other ways.Parkyn (1995) argued thatunderstanding feelings is essential formental health. He stated that "one of themost important tasks of education,therefore, should be to help usunderstand our feelings and teach ushow to communicate our understandingto our fellows. It is here that we mayfind those basic human values on whichhumankind's survival depends" (p. 47).Dabrowski (1972) also repeatedlystressed the importance ofunderstanding the inner life of thegifted.

Despite the importance of theaesthetic as a way of knowing it is notalways valued in either academia(McCrary-Sullivan, 2000) or in thesupport of the gifted yet it has much tooffer (Eisner, 2004, 2002; Gendler, 1988;Lovecky, 1990; Parkyn, 1995). Writers inaesthetics have demonstrated how theexperience of artistic expression such ascreative writing involves the exercise ofthe mind, emotions, discernment, socialawareness and spirituality (Eisner, 2004,2002; McCrary-Sullivan, 2000; Parkyn,1995). McCrary-Sullivan (2005) addedthat "the poems we read can take usacross boundaries, give us vicariousexperience, render the abstract concrete,take us under the skin of the other,generate empathy" (p. 29). ReadingGendler's compassion enables anappreciation for the great cost thatcomes from being so sensitive towardsothers and also how courage can

strengthen one's identity and integrity.

As understanding the gifted is key tosupporting them (Cross et al., 2002),then their creative expression is astrategy for knowing them more deeply.Fyrm mentioned earlier, wrote about hisdisintegration and his healing in asubsequent poem:

A haggard man was IWhen I staggered through your door,And for weeks and months I waffledWith an overload of garbled stories...With therapy and work and beerI see that poetry's a job for living people,Not for grammatical corpses...I've learnt:If I can take my insanity, andSwallow it like a pill a thousand timesI'll be the sanest man on earth.

Qackson & Moyle, 2009, p. 124)

Information alone about mooddisorders is sterile. What becomesmeaningful and illuminating is theconnection one can make with theexperience. While Fynn writes of'swallowing' his insanity he did notsuppress or deny his depth of feeling.The power of the aesthetic allowed himto condense his experience into a fewbrief lines. It is like packing "a worldinto a tennis ball" (McCrary-Sullivan,2005, p. 25) and the reader becomesprivy to that world through the creativegift offered.

Not only can the gifted discovercamaraderie amongst the experiences ofothers like them, they can realise withimmense relief that others can explainand live with their condition. Despitethe pain of desolation of mooddisorders, the aesthetic like poetry offershope and the encouragement to hold on.

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It underlines the universal nature ofdespair and loneliness yet offers thesolace of one's right to a place in theworld. As Ben, a gifted 13 year oldexplained, "During the holidays I foundthese websites with poetry and art and Irealize that there are great people outthere. Then school starts and everyone isan arsehole again..." (Moltzen, 2006, p.9). For Kate aged 10, writing is a way inwhich she captures the importance ofhaving hope:

Hope

She wears a pale white cloakHer eyes are blue and seem to glow.Her face is lit up as though she has beenwaiting for something for a long timeAnd finally, it has come.Wherever she walks, good things happenas if to make a trail.Her best friend is Joy because to behopeful you must have first haveexperienced Joy.She understands people and is nevergreedy.She is fair and is a gainer and a giver.She has what is important, that isfriends.If you are ever to meet her, remember.That first impressions do not matter toher.

The aesthetic holds much potentialfor fostering understanding andtransformation. The developmentallesson is that mood disorders likedepression need not be the definingfactor in the gifted who exhibit immensesensitivity, but can also contribute topersonal growth and well-being. Joyand hope are felt more deeply when onehas experienced pain and suffering. Thecaveat must be added that employingthe aesthetic is no guarantee of positive

growth; Hitler was an artist and author;Picasso could be sadistic; and Nietzschewas a misogynist (Miller, 1990).However, there is understanding to befound in the cathartic process of artisticexpression.

Parents, teachers and healthprofessionals can encourage the giftedto find positive outlets for their intensefeelings. This may be through puttingon exhibitions of their work, publicreadings of their poetry in supportivecontexts, publishing of their writing,public performances, joining groups intheir areas of talent that welcomeexcellence, hard work and creativity;and reading the biographies andautobiographies of gifted people (e. g.,Gardner, 1993) to learn that althoughthey feel so, they are not completelyalone and misunderstood.

Conclusion

Parents, teachers and significant othersin the lives of the creatively gifted cantake heart from the possibilities here;mood disorders can be crippling butthey can also be understood as part ofthe creative person's unique,remarkable and complex development.Providing a safe environment for thegifted to be who they truly are and wantto be and enabling them to expressthemselves through aesthetic ways ofknowing are ways to support andappreciate their gifts. It also providesothers in their lives with a deeperunderstanding of their feelings, dreamsand insights. In addition, through theaesthetic, mood disorders can be framedin ways that provide opportunities forexpression and growth. While the focusin this article has been on writing, this is

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not to preclude the ways in whichcreativity manifests across a range ofdisciplines and domains (see Gardner,1993). Focusing on artistry like creativewriting however, provides a tangibleform that can be communicated on thepage in order to express the seeminglyinexpressible (Eisner, 2002).

Must the gifted inevitably experiencemood disorders during their lives?There are many accounts that suggestthis, supporting Dabrowski's (1970)theory of disintegration anddevelopment and Piechowski's (2006)examination of the lives of many younggifted people. It is difficult to claim witliany certainty that mood disorders arenot only inevitable but necessary, giventhe many variations in personalitytypes, contexts, theoretical positions andhistorical settings. What might appearto be pathological in 1920 may not seemso now. And today, mental healthprofessionals can vary widely in theirdiagnoses and approaches to therapy.What is evident is that the aesthetic suchas creative writing provides a windowof both understanding and appreciation.Moreover, there is potential growthinherent in mood disorders and analternative view to traditionalpathology considers the transformativepotential inherent in disintegration.

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Acknowledgement: Gratitude is extended toAssociate Professor Roger Moltzen for hisinsightful feedback and to Natasha Moltzenfor her work with gifted young people as aclinical psychologist.

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