THE MAN, HIS RECENT PAST, AND HIS SON'S 円 CTURE 79 Lennon's li could not have been better designed to destabilize and stress a person. Lennon had quickly gone 仕 om three years of stupendous success and glorification by the world to people throwing bricks at him, setting fire [ 0 his albums and pictures, and threatening his life. The sense of confusion brought on by these stresses surely must have been amplified by the cessation Of tour- ing. Similar [ 0 the way that many men have diffculty adjusting when they retire, the end Of touring seems to have led Lennon to feel unsure about who he was and what he would do with his I 飛 . lndeed, Lennon later recalled thinking, "I couldn't deal with not being onstage. [For] the first time I thought, 'My God, what do you do ifthis isn t continually going on. What else is there lmportantly, these stresses and li transitions occurred in the context ofLennon's frequent ingestion Ofone Ofthe most PO 、 verful mind-altering drugs known [ 0 science. ln comparison [ 0 the tens Of thousands ofstudies conducted on Other psychoactive drugs, rela- tively little is understood about the effects of LSD and the other major hallucinogens, in large part because around 1970 many nations decided to classify them as "Schedule I," thus greatly limit- ing researchers' access tO these drugs. Nonetheless, studies 丘 0n1 the 1950S and 1960S , as well as a handful of more recent studies, sug- gest that Lennons existingpersonality structures were likely tO have been significantly perturbed by his many trips on LSD. Lennon himself commented on this, claiming the LSD had "destroyed 1 y ego. " statement seems in many ways an apt description. From whatthe research shows about LSD, its physio- logical, neurochemical, and psychological effects parallel the expe- rience ofpsychosis, when people lose touch with reality and their sense ofselfand are often overwhelmed by irrationalthoughts, feel- ings, and concerns. Lennon certainly reported some psychotic-like

T H E S T Y L E 10W down"). McCartney s romantic image is supported by the fact that he used first person plural words such as "we" and "us" quite often, as in レど〃 / ' 64 (). g. , "EV'ry summer ℃ can rent a cottage in the lsle of Wight") and 乃切曻を肪イ . And Harrison's introspective, spiritual image is confirmed by his frequent use Of words reflecting cognitive activity in songs such as イ / 、 / をどイどイ 立印 (e ・ g ・ , "you're the one thatl'd be thinking of") and 曻分ん〃 〃分ん 0 〃 ("never glimpse the truth"). Linguistic Analysis of カ″り初ゞ 0 / の加 0 〃 research literature shOWS that that the linguistic style used in a particular piece ofwriting or speech is influenced by features Ofthe author's personality (e ・ g ・ , whether one is depressed and suicidal, whether one is Paul McCartney or John Lennon), by the author's current situation (). g. , whether one is lying, whether one is address- ing an authority figure), and even by current SOCietal events (). g. , 、 vhether one S country has just suffered a terrorist attack, whether it is the early or late 1960S ). For this reason, merely running the LIWC program on カ〃ヮ切ど D 0 〃着 is unlikely to reveal anything very useful, as there would be no way [ 0 sort out how much the song's linguistic style was influenced by Lennon s personality, by his psychological situation at the time he was writ- ing the song, or by the general era in which the song was recorded. For example, if the LIWC analysis revealed that 〃切ど Sky ル / んノ ) 7 〃 0 〃イゞ contained many negative emotion words, it might be that something about the themes on his mind at the time he was writing the song led Lennon [ 0 use such words frequently, or it

THE MAN, HIS RECENT PAST, AND HIS SON'S 円 CTURE 63 Personal History Lennon Activating Event Julian's Picture Composition Of もリり , ⅲビ Sky w ″〃 D 川 0 〃ホ Recent Past Figure 6 」 Types 0f information needed tO understand Lennon's composi- tion 0f Lucy ⅵ the Sky with Diamonds. Lennon S Personal History John Lennon was born in Liverpool [ 0 JuIia (nee StanIey) and Freddie Lennon on October 9 , 1940 , amidst the onset of WorId War Ⅱ . His parents had wed, against the bride's family's wishes, almost t ' 0 years earlier. Lennon was conceived not long before his father ℃ nt tO sea on a series ofmerchant marine voyages dOdg- ing German U-boats to bring supplies into Britain. Although by 1 れ OSt accounts Julia was a warm, vivacious, playful , 01 れ an , hO enjoyed being with her young son, with her husband away she began carousing around the pubs of Liverpool; one biographer claims she sometimes le 丘 the young Lennon alone at night in a dark apartment for hours on end while she は S out flirting and drinking. Eventually Julia struck up a relationship with a British soldier and became pregnant by him in the 日 1 of 1944. When Freddie

T H E S TO RY umans have claimed any number Of distinctions between our species and Other animals: our upright POSture, our opposable thumbs, our use of complex language, our use 0 001S , our invention ofagriculture, and our self-awareness. Little by little, these supposed distinctions have been eroded by research show- ing that other primates stand upright and use their thumbs like we do; that gorillas, dogs, and some species of birds have reasonably large vocabularies and can comprehend the complexities Of S01 れ e grammatical rules; that chimpanzees, crows, and Otters make and use tOOls; that ants farm and raise livestock; and that bottlenose dolphins, elephants, and the great apes recognize themselves in a nurror. There is one distinction that has thus far StOOd the test oftime, however: human beings are the animals WhO tell fictional stories. our species seems [ 0 have begun creating and appreciating nar- ratives thousands Of years ago When our ancestors sat in caves or around campfires using protolanguages [ 0 share the details of their days. Eventually the tendency tO create a narrative with a P10 [ and characters led tO stories about everything from the origin of the stars in the sky to how the little boy who wandered alone intO the WOOdS was eaten by the bogeyman. Stories like 23

ー N D E X Adler, Alfred, 31 Alexander, lrving, 7 , 25 , 31 ノ / / 化切イグ / イ (Carroll), 2 , 39. & ど 4 な。 Carroll, Lewis alienation, 58 anxious-ambivalent attachment 71 ー 73 , 75 , 76 , 99 , 113 association analysis Of カツ / 〃ーあどんツ の , 38 ー 39 common associations, 43 ー 46 , 135 ー 36 most common assoclatlons [ 0 words that appeared in カ 4 ヮ and previous Lennon 135 ー 36 personal associations, 39 ー 43 for words that appeared in カ〃ワ and previous Lennon songs, 40 , 129 ー 34 attachment theory, 69 ー 76 avoidant attachment style, 70 , 75 ー 76 bass line, 53 ー 54 blues, 102 "Boat beneath a Sunny Sky, A" (CarroII), 81 ー 83 , 85 ー 86 , 88 ー 89 boundaries, 19. & ど 4 な 0 oceanic feel- ing; Ono, 崘 ko : Lennons identification and merger With; union Bowlby,John, 69 ー 70 , 75 , 99 Carroll, Lewis, 2 , 3 , 81 ー 82 , 96 ノ / れ切曻〃イ , 2 , 39 Boat Beneath a Sunny Sky," 81 ー 83 , 85 ー 86 , 88 ー 89 Lennon on, 58 乃川 4 ど力。 - G 5 , 2 , 39 , 81 ー 82 "lhe Walrus and the Carpenter," 95 catharsis, 107 ー 10 , 113 chord progression, 53 ー 55 Christianity, 77 ー 78 Clague, Eric, 67 ー 68 comfort, theme of, 4 lt, 42 connectedness, feeling 0 丘 19 connection, desire for, 32 ー 33 朝〃 & 0 ワイお 4 〃ん 4 , 窺必 乃ど (Lennon-McCartney) , 101 , 104 Gy り Cry (Lennon-McCartney), 98 Davies, Hunter, 67 の切坊どカノ (Lennon- McCartney-Mc Cartney) , 1 161

118 AppendixA SampIe 2 : NO コ US and UK Hit SingIes between January I, 円 66 and mid-February, 円 67 96 m ー ~ & the Mysterians—US ノ″確ん〃一羽 le Small Faces—UK C 厖訪ー lhe Association—US —Jim Reeves—UK GetAway—Georgie Fame and 羽 1e Blue Flames—UK G 伽イカ / が一 Young Rascals—US G00 イ防み加ー le Beach Boys—US and UK G G 砌 G ツ〃 0 襯どー Tom Jones—UK 孖 4 〃 Panky—TommyJames—US / 切なお諸げー lhe Monkees—US and UK んど孕 0 〃〃〃〃切《ー The Spencer Davis Group—UK 〃イツ冫のー he Buckinghams—US カ滝 7 切加 Clarksville—The Monkees—US カ愆ん加が & ルんおー Lou Christie—US 財イ外 % 〃イー Mamas & Papas—US 0 Love—Petula Clark—US 0 ofTime—Chris Farlowe—UK ル / 加″召ー Ro Ⅱ ing Stones—US and UK 乃確 & ofTown—Johnny Rivers—US 乃り月 4 襯初 0 ー Man 丘 ed Mann—UK 訪 0 / ' / / 召ど乃砿どー he Four Tops—US and UK & 訪 0 み〃どゆ Me—1he Spencer Davis Group—UK & のⅵ〃坊ど Night—Frank Sinatra—US and UK 立襯切ど 0 り一 The Lovin' Spoonful—US 立〃りイ加 0 〃一羽 Kinks—UK

THE STORY 27 main character Of this story, and then derived a script for this paragraph by abstracting the fundamental meaning behind the specific images and arranging them in sequential order. Here iS the result: I leave origins meet barrier tO progress return tO hOSPi- table origins retackle barrier at a more vulnerable point succeed in overcoming the barrier pick up support successfully achieve freedom Next, Demorest and Siegel considered Skinner's description of the first psychologicalexperiment he ever conducted: lt iS not surprising that 1 れ y first gadget was a silent release bOX, operated by compressed air and designed tO eliminate disturbances when introducing a rat intO an apparatus. I used thiS first in studying the way a rat adapted tO a novel stimu- lus. I built a soundproofbox containing a specially structured space. rat 、 released, pneumatically, at the far end Of a darkened tunnel from which it emerged in exploratory fash- ion intO a well-lighted area. TO accentuate its progress and tO facilitate recording, the tunnel was placed at the top Of a flight of steps, something like a functional Parthenon. rat would peek out from the tunnel, perhaps glancing suspi- ciously at the one-way window through which I was watch- ing it, then stretch itself cautiously down the steps. A so 丘 click (carefully calibrated, of course) would cause itto pull back intO the tunnel and remain there for some [ ⅱれ e. But

T H E N EXT S 0 N G S tthe point in their psychotherapy when clients begin [ 0 open the door on psychologically painfultopics, they often vacil- late bet 、 veen wanting tO open that door further and 、 vanting tO close it tight once again. On the one hand, certain psychological processes seem tO impel people toward further expression and exploration of whatever pain they have begun to describe. These processes, however, are countered in many cases by tendencies tO push aside those thoughts, feelings, and memories SO as [ 0 avoid the distress that contemplation ofthem engenders and the diffcult changes in one's 1 飛 that んⅡ exploration would typically entail. The analysis presented in chapter 7 suggests that the circum- stances Of Lennon's li 応 around the time he was writing カ〃ア / 〃 ど Sky 坊の 0 〃 were such that he began [ 0 express his long-suppressed feelings about his mother and her death' albeit in an emotionally blunted way that was veiled behind hallucinogenic imagery. Said differently, the form the song took seems to have been a compromise between Lennon's desire [ 0 express hiS desire tO defend against that expression. explanation Of Lennon S creation of カ″切ど Sky の 0 〃法 can be tested by 100k - ing at what happened in the months that followed. Specifically, tO the extent that circumstances in Lennon's li were Of the sort that , ould maintain ()r increase) the accessibility Ofthese painful 93

THE MAN, HIS RECENT PAST, A N D H S 0 N ' S 円 C T U R E magine that a ball rolls down a sidewalk and hits a stick lying in I its path. As a result ofthis event, the ball's trajectory is diverted in a particular way.. lfyou wanted tO understand the trajectory the ball took after it hit the stick, you would need atleast three types ofinformation. First, you would need [ 0 know something aboutthe ball, such as its density, mass, and size. Was it a bowling ball? A Ping-Pong ball? A beach ball? Second, you would need tO know something about the recent temporal context of the ball's travels so that you could under- stand its state when it hitthe stick. Had the ball been accelerat- ing, decelerating, or rolling at a constant speed 、 ' ås the sidewalk smooth or bumpy? At what angle was the ball traveling relative tO the stick? Third, you would need to know something about the stick, as contact with the stick was the event that led the ball [ 0 change its traJectory. ls the stick larger or smaller than the ball? ls itshaped in a way thatthe ball could go over or under it, or that it would send the ball in a particular direction? Once you compile and integrate all of this information, you would be better positioned tO understand why the eventual trajec- tory ofa Ping-Pong ball traveling uphill and hitting a large branch 61

Lucy in the Mind 0f Lennon 0 日 oss. However, suppression clearly backfired for those with an anxious-ambivalent style, as themes OflOSS actually / 〃 C どれ 5 どイ . Lennon was obviously a complex man, and there was certainly much 1 れ ore tO his personality than I have attempted tO present here. But it also seems clear 01 れ these analyses that Lennon was a person with long-standing beliefs that interpersonal relation- ships typically end in separation, a deep yearning for connection to others, and a fragile sense ofsel€ Further, i い eems likely that he carried within him a lingering, unresolved set ofpainful emotions about his mother's death, feelings that he typically attempted to avoid experiencing. 第 Recent Past After his mother's death, Lennon went on to became a full-fledged musician, form the Beatles, marry, father a child, release albums, make films, and become world-famous. WhiIe all of these inter- vening events are no doubt important in their 0 、 here I will focus on the events of 1966 so as to understand how the recent temporal context 1 Ⅱ a メ have affected Lennon S psychological state as he entered the winter of 1966 ー 1967 , encounteredJulian's picture, and composed カ〃ヮ切ど Sky ル勗の着 . months were clearly a time of flux for Lennon, marked by internal and external turbulence ofmany sorts. As noted earlier, Lennon had long been a regular and heavy user Of a host Of drugs: cigarettes, a1C0h01 , marijuana, and downers. ln January of 1966 , Lennon began seriously experiment- ing with the hallucinogenic drug LSD. Although he had taken