Revealing Ourselves: The Art of Self-Disclosure
Cindy was my own little JFK: A riddle wrapped in a question locked inside an enigma. She’d been my client for nearly three months, but I still had no idea what she thought or felt. Our conversations always went something like this:
Me: “So, Cindy, what’s going on in your life?”
Cindy: “Oh, you know. Like, my parents…[long pause]“
Cindy: “You know how they are.”
Me: “Um, not really. How are they?”
Cindy: “It’s like, well, anyway…I don’t know, they…like…[sigh]“
Me: “Like what?”
Cindy: “You know.”
As flattered as I was that Cindy seemed to consider me omniscient (she said “you know” approximately four thousand times per session), I eventually had to advise that she stop wasting money on a life coach who had no clue what to tell her. “But,” Cindy exclaimed with obvious dismay, “you’re the only person who really seems to understand me!”
Until that moment, I’d assumed that Cindy didn’t trust me enough to talk about her inner life. Then I realized that she just didn’t know how. To some degree, most of us share her dilemma. We want desperately to be understood, and we think this will happen when we meet the Perfectly Understanding Person. The truth is that we lack the capacity to make ourselves understood, the ability to disclose our real selves in a way that connects us with others. Even if you’re as stuck as Cindy, you can—and if you want to live joyfully, you must—learn to do it.
The Dance of the Seven Veils
The ability to make yourself understood is a prosaic, practical skill, like swimming or telling time but more fundamental to your emotional health. In his poem “A Prayer for My Daughter,” William Butler Yeats called it “the heart-revealing intimacy / that chooses right,” phrasing that emphasizes the importance of opening our feelings to others—but carefully. Most of us reveal ourselves about as gracefully as drunken ducklings until we’ve had a little experience. Like Cindy, we may spend years in inarticulate silence, then blurt out things that make us feel, well, like we’re exposing ourselves.
The ability to disclose our true selves effectively is a bit like the famous dance of the seven veils, in which the dancer removes one veil at a time, with plenty of dancing in between, creating far more allure than if she just showed up buck naked. Relationships, even completely asexual ones, work the same way (one of my clients used the term falling in like to describe the happy dance of gradual disclosure involved in making friends). Our true selves are hidden behind innumerable veils. Each time we disclose a truth about ourselves—anything from our favorite color to our deepest feelings—we remove a layer. Pay attention the next time you do this. Notice the other person’s reaction. Does it make you feel understood, safe, glad you’ve unveiled a bit? If so, you’ll probably feel like shedding another layer sometime soon. If not, simply stop unveiling. By responding to your instincts, you’ll develop the skill of setting boundaries very precisely. This sets you free to bond with people who really understand you, while remaining cordially detached from those who don’t.
The Art of Self-Disclosure
Cindy didn’t have any objection to shedding her veils, but she was tangled in knots of inarticulate shyness. She had to learn the art of self-disclosure from the ground up. I use the term art advisedly. I believe even if you’re a bullheaded truckdriver with the emotional range of a stump, developing an ability to disclose will require—at least temporarily—that you become a self-disclosing artist. There are several different ways to awaken the artist in yourself, starting with:
1. Let your body talk. You could assemble a group of mothers from Zimbabwe, Greenland, and New York, have them describe what it was like to give birth, and rest assured that they would soon be weeping for one another’s pain and laughing at one another’s jokes without any need for interpreters. Lacking a common language, they would speak in Body, the communicative code of gesture, movement, and facial expression shared by all people. If you’re not able to articulate what you feel or believe, you can use this code to let your deep self talk to your conscious, verbal mind.
Cindy and I started using this process shortly after she rejected my suggestion that she find another coach. I had her describe to me, in as much detail as possible, some of the best and worst experiences of her life. Her words were few and halting, but the more she tried to describe these events, the more Cindy’s body unconsciously began to express profound experiences: hands moving protectively toward her throat or opening into starbursts of excitement; eyes narrowing in anger, then widening in astonishment; shoulders hunching, drooping, squaring off for combat. Every so often I’d ask Cindy to freeze, and we’d talk about what we thought her body was trying to convey.
You can use a similar method alone or (better) with a buddy or counselor or (best) with a group of friends. As you talk about a problem or prospect you’re facing, ask yourself and your observers what your body is expressing. When I do this in seminars, I’m amazed by how much information people get from one another’s physical signals, how sensitively they can interpret nuances of feeling, and how much consensus exists, even in large groups, about what any given person’s body is expressing. If your mind isn’t sure what you’re feeling, you’ll be amazed what you can learn from and say with your body.
2. Fumble for words. Despite the power of body language, we are ineluctably verbal creatures; words usually end up being our preferred means of self-disclosure. Most of us don’t realize that humans have barely begun using language to describe subjective experiences. Until a paltry few centuries ago, most people were far too busy surviving to spend time discussing thoughts and feelings. Many of the words we use to describe psychological phenomena (depression, excitement, humor) were originally used to refer to physical objects or actions (a concave surface, the initiation of motion, bodily fluid). These words were adapted almost fancifully to describe feelings or thoughts. They stuck because no better alternatives existed.
Since using words to capture and convey experience is so new, I think we should all consider ourselves verbal pioneers, pushing back the boundaries of the wild frontier, groping for the words to express things that may never have been expressed before. If you’re intimidated by the thought of saying the Wrong Thing, try deliberately playing fast and loose with words. Most of us censor and edit ourselves when the words that pop into our minds aren’t sensible. If Shakespeare had thought this way, he might have written, “That’s a hurtful thing to say,” instead of, “These words like daggers enter in mine ears.” The second sentence is less factual, but we can feel its meaning viscerally. When it comes to self-disclosure, choose guts over grammar. Say what comes up.
When Cindy began to experiment with voicing her first thoughts, rather than the “right” answer, I immediately began to understand her better. “I feel like my head is full of sand,” she said one day, “with a bird in it.” Then she blushed and apologized, “That makes no sense!” But it made perfect sense to me. I could feel the clogged thickness of Cindy’s brain in my own head, sense the fluttering, winged thing that was buried alive inside it. My inner life had connected with Cindy’s, and her emotional isolation began dissolving.
Try writing down the phrase “I feel like a ———” and then toss out the first ten nouns that come to mind: pizza, orchid, sword, whatever. Now read over what you’ve written and see what rings true. Do you really feel like an orchid? In what way? Be as irrational as you can be. The less you keep the rules, the more your mind will begin to use words as vehicles to convey the sense of your experience, rather than as rigid structures that limit your thoughts and feelings.
3. Use artists’ creations to describe how you feel. Great art, in my opinion, is simply a reflection of the artist’s ability to disclose his or her inner experience very directly and accurately. I know exactly how Edvard Munch was feeling when he painted The Scream, and so do you. A sequence of musical tones assembled by Bach, or a few words placed in a sparse line by e.e. cummings, can convey pure emotion or articulate truths I never knew about myself—I have no idea how this is possible, but it is. A wonderful way to disclose your own heart, then, is to get a little help from artists who communicate feelings similar to your own. I tend to play music for my family and friends (“Here! This is what I’m feeling!”) as a way of disclosing aspects of myself I can’t express. I also plague people with drawings, paintings, books, and movies that have touched me deeply. It always strikes me as miraculous that I—or you or even the noncommunicative Cindy—can borrow the genius of artists who lived in other times and places to build bridges across the voids that separate our hearts from each other.
As a matter of fact, Cindy the Silent gradually blossomed into one of the most expressive people I’ve ever coached. After learning to interpret her own feelings, speak freely, and ride piggyback on the self-disclosing genius of others, she decided to quit her dead-end job and enroll in film school. She recently sent me a still shot she’d taken of me sitting in my office with my dog, discussing the art of self-disclosure. Beneath the image Cindy had written, “This is a little underexposed, like me. But I’m working on it.” She didn’t need to say more. She knew I’d understand.