The cognitive capacities of parrots

“Indeed, he [Alex] had given us a glimpse of another world, one that had always existed but remained beyond our view: the world of animal minds.” Irene Pepperberg

“A rich social context is essential to teaching communication and communication skills….” Irene Pepperberg

Today’s post is about the advanced cognitive and emotional capacities of Alex, the African Grey parrot, who got his name from “Project ALEX: Avian Language EXperiment.” More specifically, I’ll be referring to Irene M. Pepperberg’s work and book, Alex & Me: How a Scientist and a Parrot Discovered a Hidden World of Animal Intelligence—and Formed a Deep Bond in the Process. Irene Pepperberg, born in 1949, has a Ph.D. in Chemical Physics from Harvard University and is currently an Adjunct Research Professor at Boston University. In the past she has conducted research or taught in universities, such as, Harvard University, Brandeis University, Radcliffe Institute, the MIT Media Lab, the University of Arizona, Purdue, and more. Her work includes both studying the mechanisms of parrots’ learning as well as the outcomes, has received honors and awards, has been featured in newspapers, magazines and on television in the USA, Europe, and Asia, and after Alex’s death there was an outpouring of public recognition across the globe.

Parrots have fascinated humans and lived beside them for thousands of years, and in the past they were considered exotic, luxury items and status symbols, often kept by nobility. Parrots hold significant symbolic importance in many religions and cultures. In art they sometimes represented wealth, were often depicted with women, and in Chrisitan art the parrot sometimes functioned as a symbol for Mary. One well known painting is Jan Van Eyck’s painting of a Madonna with Jesus holding a green parrot. It also symbolized other things as in the Greek orthodox icon of the monk St Porphyrios, who is depicted with a parrot on his shoulder.  Furthermore, parrots have been literary fixtures, and more recently have starred in films. In psychology, too, the parrot has been used as a symbol or metaphor for various ideas. For instance, in Jungian psychology a parrot may represent “parroting behaviour,” a.lack of a true or more authentic identity, and may reflect the fear of not being one’s true self or the adopting of the opinions, beliefs, narratives and expectations of others.

In cognitive behavioural therapy / CBT the image of a parrot on one’s shoulder can represent the inner critic, as if literally having someone on one’s shoulder persistently whispering critical evaluations and negative self talk. The “Poisoned Parrot Metaphor” is a tool to work with negative self talk through cognitive defusion, which suggests recognizing that the thought is often just an unhelpful inner voice or automatic inner chatter, and rather than mistaking it as the absolute truth, simply acknowledging it and creating some distance from it. In behavioural psychology and in education “learning parrot fashion” implies rote memorization not deep comprehension or long term retention. In Greek we have a verb παπαγαλίζω, which translates into “to parrot” for this kind of learning or for mindlessly repeating things without truly understanding them. Finally, in family systems or relational psychology it represents the emotional mirroring, the absorbing or internalizing of others’ emotional states because parrots that live with humans, being highly social, emotional and empathic creatures, can mirror the emotional states of their environment, and can even resort to self destructive behaviours like feather plucking when they are stressed. Pepperberg writes that parrots can get quite psychotic and often engage in over preening and plucking feathers when they are distressed.

Before I delve into the book I will tell a personal story of how I came to suspect that parrots are capable of more than simple mimicry. Over two decades ago I agreed to bird-sit for one of the teachers working at the language school I had at the time. Michelle had come to the island with her Greek fiancé, Kostas, who had two exotic birds, an African grey parrot and a smaller bird. They were to get married in the summer after the school year was over, and when the time came they needed people to take care of their pets. So one afternoon they arrived at my door with two cages and some bird food supplies, and all seemed fine until they left and a despondent parrot started calling out his owner’s name on and on, and this went on for the next two days. It was heartbreaking to witness this small creature’s distress and the intensity of his missing his owner. Luckily, he didn’t lose his appetite nor did he engage in self destructive behaviours, and he soon adapted to the new situation. In an attempt to soothe what seemed like separation anxiety I talked to him frequently and spent as much time as I could in the same space with him. He soon began to trust me and let me scratch his head and tickle his neck, which he seemed to like a lot, so much so that he got into the habit of pressing his little head against the railings of the cage more and more frequently. I responded every time I saw him, and while doing this I would whisper “I love you,” and after a few days he too began to say “I love you,” especially after he had received his dose of scratching.

He also liked to nimble the tips of our fingers and displayed preferences and emotions, especially jealousy, when I patted the dog, for instance. He would show his displeasure by making squawking sounds or repeating the dog’s name in a shrieking manner. However, if I left them alone, he would call his name in a softer tone, sounded more like me, and the dog would come and sit by his cage. At the time I hadn’t read anything about parrots’ cognitive or emotional capacities, but my experience with him showed that something more was going on then sheer mimicry. During the few weeks he spent with us he picked up words and short phrases, and the most fascinating of all was how he mimicked piano note sounds, and each time my son sat down to practice he would accompany him producing similar sounds.

When the time came for him to go home we all felt we would really miss him, me more than the others, but we were also a bit relieved because after a while he got into the habit of calling out “I love you” or other things, very early in the morning, irrespectively of the piece of cloth I was advised to place over his cage. Maybe I had spoilt him a bit, over responding to his ever increasing calls for attention. We also believed that he would be happy to be back with his owners, but when Michelle and I spoke again, she told me that the bird seemed somewhat depressed, had no appetitie, and kept repeating all the things he had picked up, and even sounded like me. Pepperberg writes about how parrots cannot only speak clearly, but also sound almost identical to their owners and how Alex had picked up her own accent.

The book I’ll be discussing today is about a human and a bird pioneer, who opened a window into the hidden world of animal minds, African Grey parrots in particular. Pepperberg’s book is a moving memoir, in which she tells the story of her extraordinary relationship with Alex, an African Grey parrot, who demonstrated a remarkable ability to communicate, understand complex ideas, and learned over a hundred words in his relatively short parrot life. He displayed linguistic capacities and problem solving skills and was capable of thought and intention, things believed previously to be exclusive to humans. Previously to Pepperberg’s research birds were not believed to posess potential for language and consciousness, It was believed that rather than being intelligent, parrots simply mimicked human sounds better than other birds; however, Pepperberg and her assistants proved that even though an African grey parrot has a shelled nut sized brain it has advanced cognitive, mathematical and emotional capacities, similar to those of primates or six year old human children, no small achievement for so small a brain. Grey parrots have the potential to learn hundreds of words, understand concepts like numbers, colours, shapes, size, and zero, and can display emotional responses like joy, fear, grief, irritability, jealousy, and so on.

Pepperberg begins her narrative at the end with the premature death of Alex, who died at the age of 31 [African Grey parrots can live up to 60 years in captivity]. The evening before Alex died when it was time for Pepperberg, to leave work, they had their ususal exchange of words.

Alex said to her: “You be good. I love you,”

“I love you, too,” she replied.

“You’ll be in tomorrow?” Alex said.

“Yes,”she said, “I’ll be in tomorrow.”

Alex’s death brought a lot of media attention, a great outpouring of personal emotion and public recognition and torrents of messages and letters from people from all walks of life, as well as, her own realization of how deep her bond and love for Alex was. She writes: “the sense of loss, grief, and desertion that tore viscerally at my heart and soul at the passing of my one-pound colleague and companion of three decades was of a degree and intensity I had never anticipated, nor could have imagined…… I have never felt such pain nor shed more tears….”

Pepperberg takes us back in time and back to her childhood. She was an only child and she lived with her first-generation Americans parents. Both her parents had been through severe deprivation growing up and her father had expereinced war trauma. Her mother, she writes, was rather distant and resentful about giving up work to become a housewife. Her dad taught elementary school during the day, studied thanks to the GI Bill for a master’s degree at night, and took care of his sick mother, which meant she didn’t see him much. He spent the little spare time he had sculpting clay figures and tending to his flowers in boxes and pots. There were no other children in their Brooklyn neighbourhood and so she spent a lot of time on her own and felt she was a little awkward socially. Being bright she was also accelerated a couple of grades, but being surrounded by older kids made her feel even more socially inept. Her first encounter with birds took place at the age of four, when her dad gave her a baby parakeet, a budgie, as a surprise gift to keep her company. Later when they moved house he put up a bird feeder so they could extend bird-watching throughout most of the year. She describes how birds became her playing mates. One of her various pet birds enjoyed sitting on the typewriter carriage while she banged the keys, “jerking unsteadily along with each hammer stroke,” another game she played with him was sorting out and messing up her mother’s button collection.

As she grew up she assumed she would pursue a career in the biological sciences, her dad had definitely encouraged her in this direction because of his own interests and his own dreams to be a biochemist, which was never realised due to the Depression and World War II., but she was hooked to chemistry. She was advised to apply to MIT and was accepted at the age of sixteen, which brought its own difficulties in terms of understanding how to live away from home and how to conduct a social life. In this high-pressure academic environment Charlie Bird was now her companion and solace. At MIT she became enthralled not only with theoretical chemistry, but also with David, a graduate student, who later became her husband.

Pepperberg also chronicles the events that led her from an academic life in theoretical chemistry to a career in animal communication research. After MIT she applied and was accepted at Harvard to do theoretical chemistry, an excessively male-oriented environment at the time. She also got engaged to David. They faced financial struggles, which got worse when the house they were living in with all their belongings burnt down and they found themselves homeless and without possessions. David’s post doctoral adviser took them in at his house in return for their helping with chores around the house and looking after his two sons. It was there while watching documentaries and other educational programmes that a new world opened up for Pepperberg. There was the work of Jane Goodall; European researchers had won the Nobel Prize for their studies in some aspect of animal behaviour, biologists were beginning to think about animal minds and animal thinking. It was at that point that Pepperberg realised that she was “prepared to throw aside years of university work, of deep commitment and effort to studying chemistry as a career path, and embark on a venture for which [she] had little knowledge and no training.”

A professor in Harvard’s biology department, she writes, was able to orient her and that’s how she learnt about the pioneering work on human-chimp communication. She realised that no one was working with birds and that it would also be easier because they could learn speech, the African Grey parrot, in particular, learned most easily and was the clearest talker. Pepperberg explains that at the time the prevailing psychological dogma known as behaviorism, viewed animals as automatons, with little or no capacity for cognition or thought, and biology was dominated by theories claiming that much of animal behavior was innately programmed. But this, she says, was contrary to her gut instincts and common sense, and felt that it was obvious that both communication and learning to communicate is a social process. At the time she came across a paper by the German ethologist Dietmar Todt about what he called model / rival program of training, where instead of having one trainer, an animal has two, and where  trainer B is the “model” for the animal subject and its “rival” for the attention of trainer A. This is the model Pepperberg adapted for working with Alex and also the model she found the most effective. The idea was that he would learn in a social context. She and her assistant would take turns asking each other about an object’s label, with Alex observing.

Within just a few weeks, she writes, of beginning training, “Alex was indisputably using vocal labels to identify specific objects. He was not merely mimicking.” The first word he mastered was paper because he liked to chew paper and was often given bits to chew on. Soon Alex could identify objects he’d been trained to label like wood, hide and key, and over the years learned to identify over a hundred words. He learned to label colours, but seemed less interested in them perhaps, Pepperberg notes, because they all tasted the same, while the different objects had different tastes and textures. Through anecdotes Pepperberg describes his display of a variety of capacities and acquisition of new learning. For instance, he was able to correctly identify and name combinations of novel objects and colors, which in linguistics, is known as segmentation, which means being able to take pieces of two phrases apart and reassemble them appropriately.  Once they started to tape Alex’s solitary evening babbling, they found out that similarly to what the Swiss psychologist Jean Piaget had argued about children needing time to assimilate something new that they had learned before using it with ease, Alex also frequently “practised” on his own a newly acquired word to perfection, even though earlier in the day he had completely failed to say it.

Understanding concepts, such as “matter” or material, color and shape, says Pepperberg, is a higher level of cognition, and that it was one thing for Alex to identify an object and say “four-corner wood,” for instance, but quite another for him to see a piece of red four-corner hide and correctly respond to separate questions such as “What color?” or “What shape?” because that required Alex to understand the concept of color and shape as categories. Another capacity he demonstrated at one point was the combination of parts of two different words to form a new word (blending). Alex had learned grape, banana, and cherry on his own, because they named everything they fed him. “Apple” was therefore going to be his fourth fruit label, but Alex stubbornly refused to say apple. Then, Pepperberg writes, “in mid-March 1985, he looked at the apple quite intently, looked at me, and said “Banerry.” They eventually worked out that he had combined ban (from banana) and erry (from cherry) probably because it tasted a bit like banana and actually looked like a large red cherry.

Alex was also capable of understanding the concept of same and different, which is fairly sophisticated cognitively. Pepperberg says that  David Premack had already tested chimps, but all the animal had to do was indicate whether two objects were the same or different; however, Alex went a step further in their tests because he was able to tell her exactly what was the same or different: colour, shape, or material. After that they moved on to relative concepts, such as size difference, and Alex got that, too. She worked on object permanence: the understanding that an object continues to exist even when it is hidden, a capacity that develops gradually in children over their first year, and Alex had a good grasp of this too and also had fun during the testing procedures. There’s also an interesting anecdote of Alex’s experience with the mirror and how he learnt the colour grey.

She worked on phonemes, the individual sounds that make up a complete word, training Alex to sound out phonemes, not because she wanted him to read, but to see if he understood that his labels / words are made up of sounds that can be combined in different ways to make new words, and Alex “did indeed understand that labels are made of subunits that can be used in different ways.” They needed to prove this scientifically, so they went about their usual way: “What colour is ‘ch’?” and “What sound is purple?” However, Alex, Pepperberg writes, “leaped over where [they] were with his training, which was individual phonemes,” and sounded out the parts of a complete word. She also worked with Alex on recognizing and understanding Arabic numerals, and addition. Alex could indeed add, but could also grasp the concept of zero, whcih she claims is “a highly abstract concept. A label for zero entered Western culture only in the 1600s.” Moreoevr, Alex’s use of “none” in one case was entirely his invention. He also grasped “none corner wood,” for circle. And when it came to what is called equivalence, in other words understanding that the squiggle that is the Arabic numeral five or six represent five or six things, he figured it out himself, with no previous training.

In 2005 Pepperberg teamed up with Patrick Cavanagh, a psychology professor at Harvard to explore if Alex literally sees the world as humans do and if his brain experiences the optical illusions the way our brains do. Pepperberg also collaborated with Linda Schinke-Llano, a specialist on second-language acquisition in humans, looking at how Alex’s learning of English words illuminated that process. Her work also explored questions like, how Alex made sounds that resemble words when his anatomy is so different from humans in his vocal tract, his tongue, his possession of a beak, and the absence of lips. Special equipment was used to record and analyze the sounds he made when answering questions, and the sonograms of Alex’s vocalizations, looked very similar to what she would produce, showing that human speech is not as unique as it has long been considered, and also raising questions on the nature of language and how it came to be what it is in humans.

Through many anecdotes Pepperberg also describes her beloved feathered colleague’s personality and his display of emotions and intentionality. Alex loved to dance, played jokes on her and others, and was playful and affectionate, but he was also bossy and demanding, if not promptly rewarded, and during their first year together, he had several ways of communicating displeasure or negativity of some kind. Once he acquitred a functional use of “no,” he would use it to get his own way. If for instance Alex said “Want grape” and was given another fruit, he’d spit it and repeat insistently, “Want grape” until he got one. He also got bored and irritable when asked to repeat things during experiments, which is to be expected, because “science needs tests to be done over and over again—actually, sometimes sixty times or more, before the answer has statistical legitimacy, and before scientists will take you seriously.”

Once when Pepperberg had shouted at him over something, he cowered a little, looked at her, and said, “I’m sorry…I’m sorry,” which he had obviously learnt from her when she had previously said sorry to him or others. She poses the question of whether he could feel remorse, or whether it was simply a means of defusing anger, but either way, it’s still an effective mode of communication. He picked up a lot more phrases in passing, which he used appropriately, like when he told her one evening, when she was especially upset and distressed after a work meeting, “calm down.” At one point Pepperberg provides a poignant anecdote of when Alex had to stay in hospital for a while. Everyday when she visited he would say, “Come here. Wanna go back,” “Pay attention. Come here. Wanna go back!” Alex also liked to spend time alone in his own spaces, had his own daily activities, toys he played with and things he liked to do. For instance, he liked to go on an excursion to a room near his lab to look at a tree and watch the birds. At least two or three times a week, Pepperberg says, Alex would say, “Go see tree.”

Alex also displayed possessiveness and jealousy of her attention towards other parrots and people, and of course could be territorial and competitive. Pepperberg writes, “Territoriality is natural in Greys, especially in dominant birds, as Alex unquestionably was…” and that “Once Alex had learned how to label objects and request things, he relished the control it gave him over his environment, the ability to manipulate the people around him…..” And although initially, he was skittish around strangers, he learned that by asking for things he was in control of his environment, simply because when he asked for things they were given to him and he liked that. While conducting an experiment she further realised that while the younger bird relied on his native Grey intelligence to get the nut he wanted, and thus, pulled the string to bring it closer, Alex, in contrast, relying on his entitlement, refused to pull the string and insistently asked for what he wanted, expecting to get it.

She describes the introduction of other young parrots into the lab and how Alex’s domineering personality at times would hinder their training or testing procedures. Alex would immediately shout out a correct answer to a question while Alo or Kyo were hesitating or he’d admonish them, “You’re wrong.” Working with these two birds Pepperberg also realised that birds like people come with psychological baggage depending on what they’ve experienced with previous owners, and also that one of the two birds displayed a bird version of ADHD. This lead to her decision to get a young bird, to literally raise it, but raising this little bird, she says, was like no other bird experience she had ever had because she had to be a parent substitute to him. All the parakeets she’d owned as a kid had been fledged and weaned, but now they had to hand-feed Griffin several times a day, and carry him around with them most of the time because he needed their warmth and was totally dependent on her and her assistants for survival. Her plans to have Alex act as a parental figure and tutor to Griffin worked out to a certain degree only, and Griffin usually learned more efficiently when he had two human tutors rather than a human and Alex, who would often give the right answer when Griffin hesitated, tell him, “Say better” when he did get it right, or simply confuse him by providing a list of wrong anwers.

The book traces their journey together through thick and thin.

Pepperberg and Alex stayed together through many difficulties for three decades: long working hours, financial sacrifices and insecurity, disappointments, a nomadic existence, moving from one university or lab to another, trying to get recognition and funding for research, hoping to find a permanent home, struggling to gain acceptance for what was viewed as an unconventional study, and also, survive antagonism and battles in the academic world, Alex’s illness and needing to organise a fund-raiser to help out with the cost of his treatment, a period of being without work and not having a place to house the birds, and prejudices. The subject of language, she comments, had always been a contentious topic, scientifically and emotionally for both some scientists and laypersons because spoken language had long been held sacrosanct and as being uniquely human, a defining character of what separates humans from all other creatures. Also, as she comments, she was “outside the comfort zone of mainstream science, too edgy in the questions I was asking, impossible to slot into neat categories…” because although she was part of psychology, linguistics, anthropology and animal behavior, she couldn’t be shoehorned into any single one.

In 199I she became an associate professorship in Arizona. She writes it was the first “real job” of her unusual career and the first shot at security that tenure conferred. She fell in love with the place and bought a house in a rural area outside the city. In 1991 Pepperberg also established the Alex Foundation, a non-profit organization to raise money to support all this work and for getting word of their discoveries to a wider audience. She also published The Alex Studies, a book with Harvard University Press. At the end of that decade she received an invitation from MIT research lab because at the time several people there were studying computers as learning systems, and hoped to use her parrot studies as models. After a painful separation the first year she was invited to work for MIT research lab, which was quite hard on Alex, Alex and Griffin arrived at the Media Lab, in September 2000.

During that period she had a lot of resources to study ways that technology could keep domestic parrots happy and stimulated during the hours their owners were at work in order to avoid stress. As she puts it “It is like putting a four-year-old kid in a playpen in the morning and leaving him there all day by himself.” Also parrots have not been domesticated for thousands of years like cats or dogs, they are wild animals, and when we shrink their world to the size of a cage or even a room they get distressed and often exhibit self destructive behaviours. She studied whether the three parrots she was working with, Alex, Griffin and Wart, who belonged to the MIT lab, would interact with gadgets, and would for instance, be able to select between modes like pictures, videos, music or games, using a joystick. Wart came to be quite proficient at surfing all the availabilities, as did Alex, who showed little interest for  images, but loved the music and whistled along with whatever was being played, but Griffin showed little interest.

This memoir reflects her journey with Alex over three decades and it contains the love, the loss, the grief, the insecurity, the accomplishments, the recognition, and the knowing that the world is populated with thinking creatures, and that animals are far more than the mindless automatons that mainstream science held them to be for so long.  Pepperberg writes, “a vast world of animal cognition exists out there, not just in African Grey parrots but in other creatures, too. It is a world largely untapped by science.” It also explores philosophical implications of acknowledging intelligence in non human animals and appreciating all life’s interdependent existence on the planet, and how her own and others’ pioneering research into the intellectual capacities of birds and non human animals, have challenged long held assumptions about animal cognition. She recounts the lessons that Allex taught her over the years. He showed her that his little bird brain was conscious in some manner, that is, capable of intention. He also taught her that humans are a part of nature, not apart from nature, a notion that has given us permission to destroy or exploit every aspect of the natural world without considering consequences for future generations and other species.Towards the end of the book she writes, “Alex’s sudden, unexpected departure left me in awe at his achievements and wondering what else he would have done had he stayed. He left at the height of his powers……. Indeed, he had given us a glimpse of another world, one that had always existed but remained beyond our view: the world of animal minds.”

Books and films

“Time takes revenge on our memories, compressing them and burying them deeper and deeper in the recesses of memory.” Elena Akrita

“The greatest gift is to be able to speak freely.” Lakis Lazopoulos (28/06/2026)

Being happy or unhappy – is that really the most important thing? Knowing the truth would be a different kind of happiness – a more satisfying kind, I think, even if it turned out to be a sad kind.” From This Perfect Day by Ira Levin

The book that has inspired today’s post is Aliki’s Tupperware bowls / Τα τάπερ της Αλίκης by Elena Akrita [born in 1955 in Athens, journalist, writer and Member of Parliament]. I have occasionally watched her on the internet on talk shows or interviews or read an article here and there, but what caught my attention and led me to read the book was its title.

I’m also including two colour pencil drawings I made while writing and reading for today’s post and the next one on parrots and their advanced cognitive and emotional capacities.

In psychology, the Tupperware metaphor basically represents how we compartmentalize thoughts, feelings, problems, memories, or traumatic experiences into separate “boxes”, or Tupperware bowls in this case. It is a psychological defense mechanism that we resort to, especially in childhood, to prevent unwanted material from interfering with our daily lives. The Tupperware lids could be said to be the defense mechanism that seals pain, emotions and desires that we repress or cannot discern, so it’s a bit like storing containers in the freezer or at the back of a kitchen cupboard. However, what is not dealt with and not processed does not necessarily disappear, but lingers somewhere in the depths of our mind and body, and can out of the blue overwhelm us at some point, but mainly affects our behavior, our emotional state and our decisions without us often been fully aware of it. As Lakis Lazopoulos [writer, satirical actor, television presenter and performer, born in 1956 in Larissa] writes in, Other Women Wear Your Dresses, the book he wrote after his wife’s struggle with cancer and death, “There, deep in the unconscious, secret courts are held and I’ll be damned if we even hear a word from them. However, in a strange way, we follow this decision that was made in the court of the unconscious, without often knowing it.”

Of course, Tupperware containers with food may symbolize care and nurture, but in the book they play the role of a diary of sorts for the young heroine, and mainly represent the sealed off and compartmentalised wounds, losses, lost dreams, sadness, emotions, even a buried knowledge of reality, all that Aliki does not want or cannot face.

Akrita situates the story of her characters in the socio-economic and political context of a twenty-year period, from 1980 to 2000, and shows us how these events, to one degree or another, impact their lives. Many readers will remember neighbourhoods of Athens {Kypseli, Phylis and Acharnon, Byronas, Kolonaki), the aesthetics, the atmosphere, the aromas, the pastry shops and sweets of those years, the stamped embroideries with Demise threads, music and films, the two national stars of the cinema and the theater, Aliki Vougiouklaki and Jenny Karezi. The author selects events and incidents of those years, reminds us of how we got here, and shows us how History and the stories of people sometimes collide. She refers to the deaths of both stars from cancer, to the first MacDonald’s in Athens in 1991, to how single-story family homes with gardens were demolished and replaced by blocks of flats, to the first mobile phones, to the three prime ministers who governed the country, to political party processes, to decisive political scandals, to trials of politicians, to the terrorist group November 17, to the burning of the MINION and Katrantzou department stores on the same night, resulting, among other things, in 1000 people being made redundant overnight, to the 6.2-magnitude earthquake that leveled Kalamata on September 13th, 1986, and to the reconstruction of the city, to the fall of the Berlin Wall, and many other events, important for the development of modern Greek society.

The main heroines of the book are three women, grandmother Koralia, her daughter Eleni, and her granddaughter, Alice / Aliki, three generations and in a way three recurring stories. Three women, who for different reasons, are raising their children alone, and who despite the adversities and difficulties remain united, as each one helps the next one go a little further, live a little better. Koralia, an old leftist, loves Dimitris Mitropanos’ sad songs, works as an usher at Aliki Vougiouklaki’s theatre and a cleaner at Finos Film, first to raise her daughter and then to support her in taking care of her own daughter, Aliki. Eleni also has two jobs, she’s a shop asssitant at MINION, and in her free time she organizes Tupperware demonstrations. She tells young Aliki that Aunt Tupper sends these bowls from America so that the little girl feels that she too has an extended family.

The stories and lives of the central heroines, who move in the urban environment of Athens, are involved and connected with many other diverse people, as it more or less happens in real life. These people are the present and absent fathers, husbands and mothers-in-law, colleagues, friends, neighbours, high school principals and teachers, classmates, prostitutes, people from the criminal underworld, aspiring politicians, gay boys that are forced or who choose activism or conventional marriages with rich brides, who wear wedding dresses by Loukia [an important Greek clothes’designer] and buy objects from antique shops, and actresses, such as Vougiouklaki, Aliki’s godmother, who, like the good fairy godmother, dressed in pastel colors, appears when the three women need her.

In fact, Akrita’s story echoes one of the actress’s best-known comedies, Heartbeats in the classroom, in which the teenage heroine falls in love with her young professor and they get married, and live happily ever after, if I remember correctly, except that in the book the love story and marriage of seventeen year old Aliki to Andreas, the charming teacher with the many political ambitions, ends painfully. Akrita describes the gradual shrinking of the girl and her life. She writes, “When Aliki raised her head, at first he did everything he could to cut her down to size…. “He didn’t openly forbid anything. But he had a thousand ways to show his opposition….” The young girl will get pregnant prematurely and unexpectedly, will have a miscarriage, will suffer gaslighting, control and irrational manipulative jealousy scenes, and in the end, she will be belittled and physically abused. Little by little, she will be led to isolation, silence and inaction, and will only escape when her life is in danger and with the help of her old school friend and family. In the meantime, during these years, she will remain silent, will take care of the house, will water the flowers on the balcony and watch life go by, and stuff everything that happens in her colorful Tupperware containers that she has had since childhood, when she liked to keep her treasures, small toys, dolls’ clothes, pencils, markers, and beads in them.

 

Akrita’s book encompasses the stories of the three main heroines, historical events and figures of the era, the subterranean power dynamics, and the partially invisible social games. The author touches on everyday fascism. racism and sexism, often hidden, unconscious at times, social hypocrisy and manipulation games, the prejudices that plagued and still plague people, the rise of social climbers in politics, and more. The book can also be read as a chronology of historical events that marked the whole country and each individual separately, and shows how the personal, the political and the socio-economic are connected by visible and invisible threads. There are many examples, but I will mention two. In the first story, young Aliki, pregnant and pushed by her husband during an argument in the middle of the street, stumbles and falls, while a police officer who is chasing a suspected terrorist, accidentally runs over her. She then bleeds in the middle of the street and has a miscarriage. Here, Akrita creates a scene where citizens encounter History. Specifically, she’s referring to what came to be known as the fiasco of Riancour Street that took place in March, 1992. Perhaps one can also read the event as a symbolic scene where personal psychologies, patriarchy and power, crush a woman and the child she is carrying. Another example is the accident of grandmother Koralia, who is hit by an ambulance while it’s reversing outside the court, where the trial for the high-profile scandal of banker Koskotas was taking place in 1991, as at that time a prosecuted politician was being urgently taken to hospital.

The author, with a dose of humor and sarcasm, also narrates secondary stories and events, painting a mosaic of social practices and narratives – a panic attack and love affair in a stalled elevator, death by a fishbone, a poor stray cat and the “almost cat-killer” neighbour in the next door apartment, the friendly grocer that turns out to be a secret fascist, private schools and the high school principal’s tolerance of bullying and harassment of students, with almost tragic consequences for Aliki’s friend, and meals with friends and family. Regarding these meals, Akrita comments, “The first thing a family meal needs is a family. The people who share it should love each other, not look at each other cross-eyed and say one thing while meaning another.”

But I think that Akrita’s story, even though it has no supernatural horror elements, also reminds us of the very famous and masterfully made American Gothic horror film of 1968, Rosemary’s Baby, starring Mia Farrow as Rosemary and John Cassavetes as Guy, a name that could indicate any man. François Truffaut and Alfred Hitchcock were the initial candidates, but it was finally directed by the then young Roman Polanski. The actors are excellent, especially Mia Farrow, who also hums the lullaby by Krzysztof Komeda that is heard at the beginning and the end of the film.

Although the film is considered a horror film, essentially it’s a satire and social allegory. It reflects the patriarchal structure of society and the power dynamics, highlighting the oppression, exploitation and violence against women, and the manipulation and control within relational contexts. The film has also been considered an allegory for the culture of rape and the reproductive manipulation of women. As viewers, we will probably wonder if the horror is truly metaphysical, because the scary thing is what the heroine experiences within a suffocating sociopolitical context. In this horror film, the real seems to matter more than the supernatural evil, and we almost forget the Gothic elements that in any case are not particularly scary, and we can feel the injustice and the heroine’s despair as we watch how she is gradually and systematically weakened, undermined, sidelined, drugged, raped, and infantilized and treated as if she were incapable of making decisions regarding her pregnancy or her health.

Like Akrita, the creators of the film, and the author of the book on which it is based, Ira Levin, situate the story of the couple in New York in the 60s. Critics have viewed the film as both a reflection and a symptom of the political and cultural upheavals of an era of opposition to institutions and traditional hierarchies, and when conspiracy theories were rampant. Critics and scholars have commented on how the film takes a critical look at this era, a period of political and cultural changes and clashes of the new with the old, the traditional with the modern, the rational with the metaphysical, good with evil. The film captures the mood of the time, as there are references to the Pope, Catholicism, the Kennedy period, and more. In 1968 when the movie was released in theaters in America, Senator Robert Kennedy and Martin Luther King were assassinated, which had sparked protests for Blacks’ rights almost across the country, and the anti-war movement was at its peak, the second feminist movement was demanding rights for women and women’s reproductive rights were a hot topic of discussion, the hippie movement was challenging traditional institutions and values, as well as, organized religion, and turning to mysticism.

Joan Didion’s collection of essays reflecting that era, Slouching towards Bethlehem, originally published between 1965 and 1967 also focuses on that era. Drawing its title from a poem by Yeats, the book explores themes of dislocation and disorientation, existential malaise among the thousands of young people who flocked to San Fransisco, and the darker side of the hippie movement and the era, and the more troubling realities, especially within the context of California in the 1960s, like cultural disillusionment, poverty, crime and violence, gurus and drugs, child neglect and lost adolescents. It includes a variety of characters from cultural icons to housewives, women in prison and teenagers, who have run away from home. Didion comments, “These were children who grew up cut loose from the web of cousins and great-aunts and family doctors and lifelong neighbors who had traditionally suggested and enforced the society’s values. They are children who have moved around a lot, San Jose, Chula Vista, here. They are less in rebellion against the society than ignorant of it….” Later she writes about her own life, “I would like to promise her [her daughter] that she will grow up with a sense of her cousins and of rivers and of her great-grandmother’s teacups, would like to pledge her a picnic on a river with fried chicken and her hair uncombed, would like to give her home for her birthday, but we live differently now and I can promise her nothing like that.”

Didion reports moments, events, images, and details from overheard conversations, chance encounters, fragments of interviews, a brief conversation with a police officer, her experiences with white radicals, people on acid trips and teenagers. This mosaic of random people and instances seem to work well in showing us how parts tell us a lot about the whole. Two powerful images that conclude the essay with the title are that of a five year olf girl on acid and a little boy who has lit a fire and burnt himself, while the adults ignore him as they are trying to retrieve some drugs from the wooden floor cracks. Didion, both detached and immersed, reports the scenes without commentary allowing readers to judge and reach their own conclusions.

To return to the movie, here too, the young woman is isolated, subjected to control, surveillance and victimization by her charming, conniving and ambitious actor husband, in order to fulfill his professional ambitions and secure financial power. His egocentrism and ambition will lead him to immoral compromises and make him an easy target for exploitation and manipulation by their older predatory neighbors, the Castevets, and their cronies. The lack of family ties among the young is also depicted even though Rosemary comes from a large family, in fact the extended family is a structure that is absent from the film, as well as, how the media guides the population on how to think, how to behave and what to buy, and also, determines various choices of the couple. Finally, the price that the older ones demand from the young in exchange for the transfer of power to members of the generation is also demonstrated.

From the beginning of the film we witness scenes of control and betrayal of her trust, as Rosemary is at the mercy of a group of older men, and the women around them, as well as, her husband. Just as in Akrita’s story, young Aliki feels out of place and alone with Andrea’s political circle and acquaintances, so too Rosemary increasingly feels discomfort in her social interactions. Some analysts of the film report that what the heroine suffers at the hands of those she trusts is a classic example of victimization by systematic patriarchy, and that isolation and loss of control are the central terrifying elements of the film as we watch how trust and the roles of motherhood, homemaking, and the natural anxieties of a mother-to-be are turned against her. Some find influences in the work from Charlotte Perkins Gilman’s short story, The Yellow Wallpaper. The new apartment of the couple in the film, decorated with care and enthusiasm by Rosemary, is transformed from a dark, gloomy apartment in a historic and infamous apartment building into a bright space dressed in various shades of yellow. In the film, as in the short story, we also watch how the heroine is led to a dead end or escapes reality.

Key themes that the film touches upon are the loss of bodily autonomy, the loss of control and choice within relational and medical contexts. We watch her husband and the surrounding community monitor, interfere and undermine her every choice. For example, they tell her which doctor to go to, they suggest she get rid of the pregnancy books she is reading, they convince her that the pain and weight loss are normal, they give her herbs, they control her food, they throw out her books, they drug her. Other issues that are touched upon are the gradual and systematic isolation from old friends (even their victimization), the ignoring of her objections, the dismissal of her fears as hysteria, and the gradual silencing of Rosemary. A key tool that is used is of course systematic and systemic gaslighting. We could say that the Gothic aaspects (or background of the film) can also be seen as an integral part of the gaslighting process, as on the one hand, when Rosemary finally decides to ask for help, she is not believed since her story sounds like a wild conspiracy theory, and on the other hand, it functions as a kind of veil that disorients her, as it generates fear, confusion and doubts, which all prevent her from understanding what is really going on.

The film, like the book, demonstrates how the personal can be closely intertwined with the broader socio-political, as it makes visible the participation and complicity of the husband, her social environment and the institutions of a deeply patriarchal society. There is a symbolic scene where, after the now heavily pregnant Rosemary has tried to escape, the doctor to whom she has secretly sought help notifies her husband and gynaecologist, who force her into a taxi and bring her back. However, it has been argued that this scene where two men are dragging a mother figure is also an echo of the memory of Polanski’s mother, who was arrested and taken to a concentration camp when he was eight years old. I will refer more to the autobiographical references in the film and the Jewish themes below, which point to an additional reading of the work.

And while some believe that Polanski created a feminist and subversive film in the horror genre, other critics question the film’s feminist perspective, primarily because of Polanski’s controversial personal history and the things he did afterwards. Also, in contrast to the ending of Akrita’s story where the heroine starts a new life with her baby, Rosemary remains trapped, helpless and without a viable choice. It seems as if Polanski has depicted a woman’s worst nightmare. In contrast to the chilling ending of the film that creates a feeling of impasse, at the end of the book Akrita offers us a feeling of relief and hope as the characters move forward, untie knots, stand on their feet again, forgive, reconcile, support each other, make plans. Aliki, with the support of her family, will learn to walk again, heal wounds, with the guidance of a specialist she will open lids, doors and hidden corners in the gardens of the mind, and she will finish school, go to university, she will raise her child and grow along with her daughter.

But before I bring today’s piece to an end, I will briefly refer to the film’s references to the Holocaust and Jewish identity that I mentioned above. Polanski and Levin were both of Jewish origin. There are allusions in the book and the film, such as the line, “The Second World War filled the apartment building again,” alluding to the refugees from Europe that fled to America. The two evil neighbours, Minnie and Roman (Roman Polanski gives him his name), who has changed his name to hide his origins, resemble the stereotypes that existed for Jews during that period. Roman also says about the sinster Jewish physician with the Hebrew name, Abraham Sapirstein, “He’s a brilliant man with all the sensitivities of his much-tormented race.” From this perspective, the isolation, the confinement to an apartment, the fear and distrust, the systematic surveillance and manipulation by an organized and dominant group reflect the experience of Jews and possibly the experience of Polanski’s family. The fear or danger comes from ordinary people, not from monsters or the Devil, and the film reflects how friends, neighbors, even relatives, often acted as informers during the rise of Nazism, and perhaps the postwar anxiety [of the refugees from Europe, the immigrants and others] of survival, assimilation and social advancement in American society.

As with most works of art, whether they are visual creations, written or cinematic stories, they are usually multi-layered and multi-thematic and open to many readings. Each reader, listener and viewer may understand and give meaning to these stories in many different ways. Over time, the understanding of artistic products can change, even for the creators themselves. So, in concluding this passage, I’d like to add that it’s quite possible that there are other readings, opinions or interpretations beyond what I mention or comment on in today’s post, and this is one of the reasons why art is important.

War and Children

….. Children should never be caught in the crossfire, and their homes, schools and communities must not become battlefields. Wars have laws. Children and schools must be off limits.” Inger Ashing (CEO of Save the Children International)

“….development demands its own conditions, irrespective of war and peace or all other happenings in the outer world.” From War and Children by Anna Freud & Dorothy T.Burlingham

As I mentioned in the previous post today’s piece is about Anna Freud and Dorothy Burlingham’s book, War and Children, which is based on their case-history notes drawn from daily contact with a living, war-time laboratory, and their reports that show how they reached their conclusions. Freud and Burlingham’s work is based on the fundamental idea that the care and education of young children should not take second place in wartime, nor should it be reduced to wartime level. They claim that like the lack of essential foods in early childhood will cause lasting bodily malformation in later years, even if the harmful consequences are not immediately apparent, the same is true for the mental development of the child, and whenever essential needs like the need for personal attachment, for emotional stability, and for permanency of educational influence are not fulfilled,“lasting psychological malformations will be the consequence.”

I have accompanied the text with two works by a favourite painter, Eduardos Sakayan, Child and Castaways (1994-1998) and Human Heap or Waiting List (1990-1998), which do not depict scenes of war, but came to my mind as I was wondering what images to choose to accompany today’s text, maybe because I had the pleasure of seeing some of his paintings, along with other artists’ work, at the municipal gallery, and two of my own older images from a mosaic of figures.

Even though this material was written in the 1940s, and despite the more recent findings and knowledge around child development and attachment in the fields of psychology and medicine, Freud and Burlingham’s work is inspiring and their observations and findings remain valuable and important. The book is also a reminder of our humanity and our duty towards the young. Additionally, I feel that this material is highly relevant today, as we have been witnessing conflict and wars around the globe, where civilians have been increasingly targeted, homes, hospitals, schools and desalination plants bombed, and large numbers of children are witnessing destruction, are being killed, amputated, starved, and orphaned.

In 1941, pioneering child psychoanalyst, Anna Freud, and Dorothy Burlingham established three wartime childrens’ homes in response to the air raids on London, for all those children who had lost parents or homes, or those whose mothers had fallen ill or had to bring them to air raid shelthers every night. Freud and Burlingham observed that the break down of families impacted the children more than the actual war experiences, and unlike other homes for children, the Hampstead War Nurseries, placed emphasis on maintaining regular visits from mothers, and other family members when possible, and also on fostering sibling bonds. Along with the care and education of the children, psychoanalytic work and developmental observations, also took place, and these findings were published at the time and are included in this book.

Freud and Burlingham’s goal was to work towards certain main achievements:

to repair the damage already caused by war conditions to the bodily and mental health of children and to prevent further harm being done to the children. Therefore, when babies had to be separated from their mothers efforts were made to keep them in comparative safety within easy reach of their families; to facilitate visiting so that the baby could develop an attachment for and knowledge of its mother and be prepared for a later return to family life, and for older children the necessary provisions were made for ordinary peace-time education, while again trying to preserve the remnants of family attachments as much as possible. Another achievement they strived towards was to do research on the essential psychological needs of children, study their reactions to bombing, destruction and early separation from their families, collect facts about the harmful consequences whenever their essential needs remained unsatisfied, observe the influence of community life at an early age on their development, and finally, to instruct people that were interested in forms of education based on psychological knowledge of the child, and to work out a pattern of nursery life which could serve as a model for peace-time education.

Many interrelated topics are discussed in the book accompanied by study case examples. Inevitably I will briefly touch upon a few. I also need to say that Freud and Burlingham’s conclusions are the result of their observations and work with children, as well as, their psychoanalytical background.

In relation to matters around separation they conclude that the fact that evacuation under the present conditions is as upsetting as bombing itself, is no proof that better methods of evacuation could not be found, which guard the children’s life and bodily health, while at the same time provide the possibility for normal psychological development and steady progress in education. They assert that if separation between the child and the mother happened slowly, and if the people who are meant to substitute for the mother were known to the child beforehand, then transition from one object to the other would proceed gradually. And if additionally the mother reappeared several times during the period when the child had to be weaned from her, although the pain of separation would be repeated, it would be felt in smaller doses each successive time, allowing the child to process and adapt because there would be “no empty period in which the feelings of the child are turned completely inward and, consequently, there would be little loss of developmental achievement because regression occurs when the child is passing through the no-man’s-land of affection, i.e. during the time the old object (person) has been given up and before the new one has been found,” which can do incalculable harm to a child’s normal development. Two poignant examples of the children under their care that had expressed this state of mind in their own words reveal to us the pain and confusion felt by the child. One little boy almost four years old had said: “I don’t like you, I don’t like anybody! I only like myself,” and another five year old boy had exclaimed: “I am nobody’s nothing.”

As I mentioned above Freud and Burlingham observed that although long drawn-out separation may bring more visible pain, it is less harmful because “it gives the child time to accompany the events with his reactions, to work through his own feelings over and over again, to find outward expressions for his state of mind, i.e. to abreact slowly.” They believe that it is important for evacuation to occur in slow stages, to offer mothers who refuse to part from their young children the chance to work as paid domestic staff, to maintain the remnants of the parent relationship, as far as possible, prepare the children for their return to their homes after the war, and also, have little or no restriction of visiting rules. They also add that if babies have to be separated from their mothers, it is best they go to crèches near factories, for instance, where their mothers can leave them in the morning and collect them after work.

They explore the mother-child relationship in the early stages, and how devastating sudden separation can be resulting in long drawn-out states of homesickness, upset and despair, which are certainly more than the average inexperienced foster mother can be expected to cope with. Additionally, separation and lack of visits is understood by children as rewards and punishments. One example that demonstrates the more severe effects of this separation is Beryl, a four year old “who sat for several days on the exact spot where her mother had left her, would not speak, eat or play, and had to be moved around like an automaton.” Freud and Burlingham describe how they had little girls of three and four who would “hang around” the doors for hours on end when their mothers were expected to come, but then during the visits they would be gloomy, shy, and hang onto them without talking. Then when their mothers had left the affection broke through and violent emotional scenes took place.

They discuss how difficult it is to wean the very young child away from its mother, and how it’s just as difficult to try and keep alive in the child remnants of its original relationship to the mother, and parents more generally, because unfortunately children under three will forget about their parents or at least become apparently indifferent towards them. Freud and Birlingham tell us that after three years of age children will not normally forget their parents, and their memories tend to be more stable, since it is easier for them to find active and conscious expression for their feelings, the image of the parents remains in their mind, especially when helped from the outside by frequent visits, gift parcels, and constant talk about the parents. It is natural in the phantasy life of the child for the absent parents to seem better, bigger, kinder, and the natural negative feelings that children also have about their parents to undergo repression; however, this repression creates a variety of mood and behavioural problems. But eventually, because children live mostly in the present and because new bonds are inevitably formed in their new environment, these children too move their affection towards the parental substitutes. This creates all sorts of problems when it is time for the child to return home, especially, for the younger ones, because the children’s home has become home for them, and of course, it is painful and stressful for parents.

Another topic they discuss is anxiety and the more common types of air raid anxiety. They begin by explaining that children need to be safeguarded against the primitive horrors of the war, not so much because horrors and aggression are completely strange to them, but because during these early and decisive stages of their development it is important for them to overcome and estrange themselves from the primitive aggressive wishes of their own infantile nature. They explain how after the first years of life the child gradually learns to refuse to give conscious expression to certain aggressive instinctive wishes. The child learns that it is bad to kill, to hurt and to destroy, but can only keep up this attitude when the people in the outer world do likewise. Freud and Burlingham say that when children see killing and destruction going on outside it arouses their fear that the impulses which they have only a short while ago buried will be awakened again, and this they add, explains why younger children in whom these inhibitions against aggression have not yet been established is free of the abhorrence of air raids. However, slightly older children that have just been through this developmental process can be particularly sensitive to the menace of air raids, and can have real outbreaks of anxiety when bombs come down and do damage around them.

One other reason for the development of fear reactions is also the fact that a child is afraid naturally and sensibly when there is some real danger in the outside world that threatens either their safety or existence. The fear will be all the greater the more the child knows about the seriousness of the danger, and the fear will urge him / her to either fight it or if that is impossible, try to escape from it, and if the danger is overwhelming then the child will be shocked and paralysed into inaction. They also clarify that knowledge and reason only play a limited part in a child’s life. Its interest quickly turns away from the real things in the outer world, especially when these things are scary or unpleasant, Children deny the facts, get rid of their fear, and revert back to their childish interests, toys, games and phantasies.

They also refer to a third type of anxiety, which develops a little later into a fear of the child’s own conscience, and this is the fear of authority and prohibitions, when the child more or less has learnt what to do and what not to do “under the direction of a nucleus of inner ideas, which is his own conscience”. They claim that the child “turns back continually to the figures of the outside world, on the one hand, and to the imaginations of his/her own phantasy on the other, and borrows strength from both to reinforce the inner commandments.” It is the stage when children are afraid of ghosts and bogeymen, sometimes used as reinforcements of the real parental figures and of the inner voice. Freud and Burlingham add that children have a large list of dangers which serve as convenient symbols for their conscience, they can be afraid of policemen, gypsies, robbers, and other figures, real or fictional, dragons, lions and tigers, earthquakes and thunder and lightning. When they receive religious teaching they are afraid of the devil and of hell or that God will know what they’re thinking or when they’ve been naughty, and as a result punish them, while those who receive no religious teaching will transfer the same fear to other things like the moon, and so on.  Children often also fear the end of the world, abandonment and the death of their parents. Therefore, Freud and Burlingham note, air raids, sirens and bombs, are simply new symbols for old fears, and Hitler and German planes take the place of the devil or wild animals. Finally, children do not only develop the fears which belong to their own age and stage of development, but that they also internalize the fear reactions of their mothers, and of the grown-up world around them.

Another theme included in the book is how children deal with shocks, deprivations, and upsets in their outside life, since psychological methods which are open to adults are not yet available in childhood, One outlet, for instance, when something disruptive or traumatic happens is that of speech, which is not an option for the younger children, and while adults can go over their experiences in conscious thought and speech, young children cannot. For children there’s the outlet of play and they can process things in their play. Children like adults can also find an outlet to what’s traumatic or painful or unwanted in behaviour. Freud and Burlington write, “Some children are unable to express what has happened to them either in speech or in play. Instead, they develop behaviour which seems cranky to the outside world until it can be recognised.” They can also find an outlet in phantasy. Children largely use conscious phantasies to embellish and maintain the positive side of the child-parent relationship. Children can also regress, in other words, return to infantile modes of behaviour because, as Freud and Burlington say, every step in early education is closely connected with one of the phases of the child’s attachment to someone in the outer world. Bed wetting can also occur because it takes time before bladder and sphincter control becomes purely automatic, and “a small child will normally have a setback in its habits when it changes hands,” and this can often be one of the expressions of a breakdown of their relationships with their mother or primal caregivers.

Freud and Burlingham also discuss responses of gratification that children can regress to or over indulge in as mechanisms of soothing. Demands for affection can be transformed into a demand for food or material presents, which can be used as a symbol for the mother, which means that the child has regressed to the stage when the value of the mother was still measured in terms of the material comfort derived from her person. Denial and regression can also lead to greed for food or sweets. As for aggression, they say, during these violent times, children at the nursery stage can become more aggressive and destructive than they were found to be in normal times, and due to the loosening of early repression and inhibition of aggression, as a result of what they experience and see in the outside world, it is easy for the child to return to earlier developmental modes of expression. They mention that a frequent occurrence in all the residential war nurseries was older children’s temper tantrums.

Another response displayed by children was abnormal emotional withdrawal or emotional outbreaks. They provide examples of children who had moved around a lot and how disruptive this was for them in different ways. For instance, they describe how a young boy, whose mother was in hospital with tuberculosis and who had been placed in a variety of contexts, seemed completely devoid of all emotion. He stayed where he was put and did not seem afraid of the new surroundings, made no distinction between one grown-up and another, clung to no one and avoided no one, ate, slept and played and was no trouble to anybody. This ice was broken only when he fell ill and was isolated with one nurse, who put her arm around him to keep the themometre in place, which aroused in him memories of being in his mother’s arms. A girl, on the other hand, who had been placed in six different unsuitable places between the age of two and three, failed to recognise her rmother though both parents visited in turns fortnightly. She had emotional outbreaks of a hysterical type and displayed phobic and compulsive behaviours, would not go to bed, could not sleep, would not eat, fought against being bathed, washed, dressed or undressed, told phantastic tales of negative events, and had lost interest in the real world. Also, children that had been moved around a lot or whose placements had gone wrong, sometimes engaged in a continual abandoning of people they were attached for the sake of others who were new. One girl, for instance, having lost her stable relationship to her parents lived continually in search of new people to attach to. Freud and Burlingham write that they recognised this symptom of flight from one object to the other in adults as one of the results of early disturbances of their mother or early caregiver relationship.

The second part of the book includes reports from January 1941 till December 1942, which give us an opportunity to follow the events as they occurred and see how Freud and Burlingham reached their conclusions. This part of the book contains many short vignettes, which allow us to catch a glimpse of what was going on in the children’s hearts and minds, and also, what it was like for the mothers, diverse as they were, who were forced through the war circumstance to separate from their children sometimes as young as a few weeks old. This is the more moving part of the book and at times I found tears welling up as I read it, and it also made me wonder how these war children coped with all this experience as they got older and how all this impacted their lives in adulthood.

In this part they also describe parents’ responses, working class parents in particular, how the home took on the character of a coffee house, club or restaurant during weekends as parents were encouraged to visit freely, spend time with their children, eat meals with them, and take them for walks. They also provide examples of how different children reacted to air raids and of how separation can impact children differently depending on many factors, and also, on how evacuation is done. A three year old boy, who had been separated from his mother several times due to her being sick, on trying to keep his promise to his mom to be “a good boy and not cry” tied himself into a knot. Freud and Birlingham write, “We were shocked to see an apparently healthy child develop a compulsive tie under our very eyes.” While the other children were mostly busy with their toys, playing games, making music, eating, Patrick engaged in one compulsive behaviour after another, all the while trying to be brave. Fortunately, his mother recovered and she took the paid post of emergency night nurse, which meant that she spent five nights weekly in the same house with Patrick, which in turn allowed Patrick to evolve into “one of the most active children in the playroom.”

Examples of how children act out things in play are also included. For instance, the day after the big air attack on London on the 16th of April, several children had climbed up on the jungle gym, and were preparing to drop a heavy iron object they had found in the garden, proudly asserting that it was a bomb. Another example of how play reflects experiences and also helps children process them was their request to turn an empty bookshelf into a dolls’ shelter. There’s also reference to processes of identification, where in, one instance, a little girl possibly developed a consistent cough in imitation of her father’s cough after he died.

The creation of artificial orphans, which is one of the most serious objections to war time evacuation of young children without their mothers, is also explored. For the young children the bodily absence or presence of the mother is significant because the emotional needs of the child cannot be satisfied from a distance, and the love of the infant for its mother is closely bound up with the fulfilment of these needs, and when the mother is absent, the child forms, “after a short period of longing, a new relationship to a substitute mother.” Freud and Burlingham point out that although all these children who are separated from their parents are also war orphans the attitude of the world is to disregard this expecting the evacuated children to “fret and get over it in ‘no time’”. They conclude that it is “precisely the study of the real war orphan and his reactions, which may be of help to create a better understanding of the evacuated child”.

Many other topics are also explored like their decision to create artificial families and assign children to substitute mothers because they had noticed that certain steps in development were slow in coming in spite of all the opportunities provided, and children were reluctant to grow out of their baby habits. This decision, they soon observed, brought about astonishing results. They also discuss the inner ambivalent attitudes of the mothers, pointing out that they had observed that although a lot had been said about the foster mothers, not much attention had been paid to the biological mothers and how they felt and dealt with the separations and the predicament they found themselves in, on the one hand, wanting to keep their children safe, better fed and educated, and on the other hand, their natural inclination and desire to keep their children close to them, and their fear of the effects of separation. They also discuss the experience of a smaller group of mothers, who were less “motherly” or more ambivalent in regrads to their children, and also, mothers in difficult circumstances with “illegitimate” babies, for whom the nursey provided an outlet, and sometimes also helped them to work out their conflicting feelings and attach to their babies.

In one of the final chapters Freud and Burlingham reveal to us through short vignettes the children’s meaning making of the war, and what questions they raised and what conclusions they reached. One child concluded that the Germans bombed them because they had been noisy. Another commented that the German pilot was kind because he didn’t drop it on their home, and another when told that the German pilot was caught was not relieved, but worried about his fate and said that he would not like to see a dead man. The children also understood the war as a conflict between God and Hitler, good and evil. They wondered why God made the Germans nasty, who he would help win the war, and one child asserted that God would help both because he loves all people.

I will end this piece today with an extract from the article: War Children: Victims, Threats and Promises of the Future [Enfants de la guerre. Victimes, menaces et promesses d’avenir] by Stefania Bernini

“Against the evacuation approach, adopted by the British government since the beginning of the conflict, Freud and Burlingham argued that the war had its worst impact on children when it broke down family life and uprooted “the first emotional attachments of the child within the family group”. The paradoxical conclusion was that “London children […] were on the whole much less upset by bombing than by evacuation to the country as a protection against it” (Freud, Burlingham 1947: 171-73; Bowlby, Winnicott, Miller 1939: 1202-1203). Separation from the mother was the event most likely to produce lasting damages in children (Howarth 1941, Odlum 1941). The age of the child and the way the evacuation was organized, argued Freud and Burlingham, were crucial in determining the likely outcomes. On the whole, the analysis carried out in the Hampstead Nurseries, like those conducted among evacuated children by Susan Isaacs in 1941, put forward a stark picture of the impact of war on British children and cast a shadow on what would happen in its aftermath (Isaacs 1941).5 By turning their attention to children’s deepest and often hidden reactions to war, Freud and Burlingham suggested that even an apparently undamaged child could harbour the seed of later psychological and emotional sufferance. They gave voice to a fear that would remain at the core of post war reconstruction” (https://journals.openedition.org/revss/5812?lang=en).