Man's Search for Meaning by Viktor E. Frankl (2008, 2013)

, 27 Dec 2022

This 2008 digital edition of Frankl's 1945 book is a must read for every human being who wants to lift their spirit in moments of despair.
 
The book is structured in three different parts. The first one (Experiences in a Concentration Camp) and the Postscript (The case for a Tragic Optimism) fit beautifully together, and are the basis of Frankl's philosophy and psychotherapy system called Logotherapy. They are narrated in a very conversational way because they are, after all, a memoir. They differ greatly in style and tone from the second part (Logotherapy in a Nutshell), which is a summary of Frankl's therapy system, partially based on Frankl's experiences and observations as Auschwitz inmate, and partially on techniques and views of the world that he had started elaborating before he was sent to the concentration camp. This part is drier in style, way more technical and not as approachable for the reader, unless the reader is really into therapy or a therapist. 
 
Harold Kushner's preface to this 2008 edition is a good summary of the book main points, while Frankl's preface to the 1992 edition summarizes well how the book and Logotherapy came to be. 
 
The book has many pearls of wisdom, and is very uplifting despite the brutality of what we read. In all honesty, I already expected that when I picked up the book. Some prisoner's stories are utterly poetic despite their tragedy. I'm glad that those people's historical memoirs had been so beautifully preserved. On the other hand, this is a survivor's first-person narration of the events, so that allows for invaluable insights into the reality of the extermination camps and into the inmates' mental/emotional state and fortune.

Since we live in 2021 and we're pretty aware of the Nazis' atrocities against the Jews, most of the things that Frankl tells about his experience are somewhat lessened by the impact on the reader of dozens of documentaries and movies on WW2. It might have been chilling reading the book in the postwar era, when all the atrocities were still unfolding and the world  came to realize what had really happened.  What we didn't know before reading the book is that a new therapeutic model, Logotherapy, was greatly influenced by the Jew's suffering in Auschwitz, and that there is hope even in the biggest moments of despair. 
 
For the rest, Frank's take on life is admirable and full of wisdom, whether you are into Logotherapy or not. I especially liked his comments on love, the youth and unemployment, as they are still, more than half a century later, valid. 

LOGOTHERAPY, SOME CORE PRINCIPLES AND POINTS I LIKE
> The great task for any person is to find meaning in his/her life. Frankl saw three possible sources for meaning: Work (doing something significant), Love (caring for another person), and Courage in difficult times.
> Suffering is meaningless; we give our suffering meaning by the way in which we respond to it.
> You cannot control what happens to you in life, but you can always control what you will feel and do about what happens to you.
> Logotherapy aims to curing the soul by leading it to find meaning in life.
> What matters is to make the best of any given situation.
Man’s main concern is not to gain pleasure or to avoid pain but rather to see a meaning in his life.
> The aim of life is not to be happy as the seeking of happiness can increase someone's unhappiness.
> Suffering is unavoidable, is part of life, and we need to accept it and re-frame it.
> Tragic optimism, i.e., one remains optimistic in spite of the “tragic triad, or  those aspects of human existence which may be circumscribed by: (1) pain; (2) guilt; and (3) death and that we should say 'yes' to life in spite of all that.
> We may also find meaning in life even when confronted with a hopeless situation, when facing a fate that cannot be changed. For what then matters is to bear witness to the uniquely human potential at its best, which is to transform a personal tragedy into a triumph, to turn one’s predicament into a human achievement. When we are no longer able to change a situation—just think of an incurable disease such as inoperable cancer—we are challenged to change ourselves. (p. 116).  
> To suffer unnecessarily is masochistic rather than heroic. 
> Success cannot be pursued but it is an end result that the unintended side-effect of one’s dedication to a cause greater than oneself or as the by-product of one’s surrender to a person other than oneself.
> “Unemployment neurosis” originated in a twofold erroneous identification: being jobless was equated with being useless, and being useless was equated with having a meaningless life.
> Depression, aggression, and addiction in young people are due to what is called in logotherapy “the existential vacuum,” a feeling of emptiness and meaninglessness.
> But even if each and every case of suicide had not been undertaken out of a feeling of meaninglessness, it may well be that an individual’s impulse to take his life would have been overcome had he been aware of some meaning and purpose worth living for.(p. 143).  

SOME CRITIQUE
Frankl poignantly mentions that despite all the inmates being subject to the harsh situations (food and sleep deprivation, hard-work labor, extreme cold, beatings, etc.) some died and some survived, and he ways that, many of those who died did so because they gave up on life and lose hope in getting alive out of the camps and resuming their lives after the war.

I love most of what Frankl says and his attitude towards life. However, we cannot say that Frankl survived just because he had a specific mindset, hopes of getting alive, finding his family and publishing the basics of Logotherapy included in this edition, which he had already started writing before being taken to the camp. First of all, he was an intellectual and  a psychiatrist, i.e. a person with a strong mind, mentally stable with enough intellectual harnesses to re-frame anything in his head to give it meaning. He certainly was an optimistic, like it's in his nature. Not everyone was so well equipped mentally and emotionally. What's more, there must have been other people who, like him, had hopes of surviving, seeing their families and doing something with their lives in the outside world, but they never made it because, I can only hypothesize, their physique and immune system, as well as their mental state weren't Frankl's.  

MIND
This edition published in 2008 by Rider, but digitally in 2013. Published in 2004 in Great Britain by Rider, an imprint of Ebury Publishing. A Random House Group company First published in German in 1946 under the title Ein Psycholog erlebt das Konzentrationslager Original English title was From Death-Camp to Existentialism.

If You Can Doodle You Can Paint by Diane Culhane (2017 )

This is a workshop packed in a small book that teaches how to doodle and how to go from doodling to mixed-media painting in simple steps.  

THE BOOK IN A NUTSHELL
1/ We collect all our doodles and make connections between them re style and themes. We upgrade their presentation by framing them or putting them in the center of a sheet of paper. 
2/ We make doodles using just lines. They can be thick, thin, tall. short, curvy, straight, dotted, dashed, etc.
3/ Then we make small doodles by just using our hand and fingers; sticky notes are perfect for this. Then, we make medium-sized ones by moving the wrist and forearm; paper sheets are perfect for it. Finally, we make large doodles by moving the full arm and even the whole body; big rolls of butcher paper attached to the wall are perfect. We can use three sheets of paper one for each king of doodling size and also mix the three doodle movements in a single piece of paper.
3/ Now we explore doodling by mixing circles and lines, starting with 7 of each,mixing and matching them in different ways and layouts.
4/  This is the time to start a doodle from the left side of the page and keep going, as if we were writing without a stop; when we reach the end of the line, we move to the one below, starting from the right side. We fill in a page this way.
5/ Doodle while reading is the following exercise. With one hand we hold the book we're reading and with the other, without looking, we doodle automatically and without much thinking.
6/ Now is the time to pick a theme and doodle about it repeatedly: flowers, animals, things, leaves, trees,  birds, landscapes, everything goes.
7/ Take a line for a walk, inspired by Paul Klee's work, is a variation of the exercise described in point 4. We walk the line all around the page, starting with a black pen or marker, and then we fill in the white spaces with colors. We can use different colored pages as a substrate.
8/ Now we start preparing for the painting. We prepare the paper with gesso, add texture and color. There is a tutorial to build a simple lovely colored paper book where to doodle. We can also use old journals to create a substrate on where to paint.
9/ We then enlarge (or shrink) our doodles by zooming them out (or in) via photocopy or scan. Then we color them and apply warm, cool or neutral hues, or a mix of them. 
10/ We use a wood panel, apply rice paper with gel medium and them copy one doodle, previously enlarged as follows: "Trace the doodle with the pointer finger of your non-dominant hand, and with your dominant hand, use a marker to simultaneously recreate the image on the rice paper." (Page 78).  Then, we add acrylic color. 
11/ Another exercise is to draw a grid and use it to position several doodles inside. 
12/ We can practice the painting techniques described above to create a series. This can be done by using figurative or abstract doodles. 
Voila!

GREAT
>> This is a simple easy-to-follow method that is both practical and enjoyable. 
>> Culhane demonstrates that any humble doodle is important for art making and why.
>> The structure of the book is great and organic.
>> The step-by-step photographed tutorials.
>> The book has plenty of photos of the artist at work, of her doodling, and of the process and exercises she she explains
>> The easiness of the exercises and the fact that they don't require expensive art supplies.
>> The reuse of old notebooks for art purposes is brilliant.
>> The color wheels in page 74. 
>> No typos or editorial oddities in view. 
>> Very user-friendly digital edition.  

 
DOWNSIDE
>> I don't think you need wood panels to carry out the last part of the workshop unless you're a professional painter and/or want to sell or gift the outcome. I think watercolor paper will do the job at a fraction of the price and it's easily archivable. 
>> Even though I love the idea, using bill rolls of paper attached to a wall is nothing renters can do, at least in the country I live in. 
>> The Artist Gallery at the end of the book, is a bit too small. Also, I would have loved the author explaining the criteria used for the selection.
>> The digital price is a bit high for such a simple book.Just my opinion.