Grief

Reading Time: 3 minutes

The thing about grief is that it arrives wearing unexpected clothes.

Sometimes it shows up in the middle of a Tuesday, in the middle of a sentence, in the middle of a life that looks, from the outside, like it is still standing.

Mine showed up somewhere between the third rejection and the moment I realized I had been caring for people and institutions that were carefully, professionally, without reciprocating that care.

And here is what makes it so hard to say out loud, what makes it sit so deep inside, in the part of the chest that is not quite the heart but lives next door to it:

I am kind.

I know that about myself the way I know my own handwriting. I have always been kind. Not as a strategy, not as a performance, not as the careful warmth institutions train you to project, but the real kind, the kind that costs something, the kind that sits with people in the difficult places without looking for the exit.

I would do anything for anyone.

That is simply a fact about me That is a fact about me that I have lived out in a thousand quiet ways no one ever put in a file, no one ever counted, no one ever thought to mention in the meeting where they decided I was not quite enough.

And my ethics.

I need to talk about my ethics because they are not a section on a curriculum vitae, they are not a course I took and then put away. They are the architecture of me. They are the reason I have never once let a student fall without trying to catch them, never once used my power carelessly, never once walked out of a classroom without asking myself if I had done right by the people in it.

The thought of causing pain, even accidentally, even at a distance, even to someone who might never know,

it undoes me.

It lives in me for days. It wakes me in the night. It sends me back to the moment of it, turning it over, looking for the place where I could have been better, softer, more careful with the fragile thing.

That is who I am.

That is the person who sat in those rooms and was found not quite right, not quite fit, not quite the shape they were looking for.

And the grief of that, the specific grief of that, is not just about the job, is not just about the title or the permanence or the office with my name on the door.

The grief is this:

I know my own heart. I have always known my own heart. And my heart is good.

Not perfect. Not without error. But good in the deep way, good in the way that has cost me things, that has kept me up at night, that has made me choose integrity in the moments when choosing otherwise would have been so much easier.

And they looked at that heart and said not qualified.

That is the wound that does not close cleanly.

That is the grief that does not have a tidy ending, that does not resolve into wisdom on a schedule, that sits in the deep inside and asks the question I am most afraid of:

If this is not enough, what was any of it for?

An answer has yet to arrive.

I have only the question and the ache of it and the knowledge, stubborn and unshakeable, that my kindness was real, my ethics were real, my care was real,

even when the system looked straight at all of it and looked away.


Translation Note: Where Spanish appears in this collection, it was assisted by Google Translate (translate.google.com). The Spanish is woven in as an act of reclamation, a return to a language of the body and the self that exists beyond institutional English.

I Was Always Good Enough. I Just Never Belonged.

Reading Time: 5 minutesThat is the hardest kind of knowing.

Not the not-knowing, not the wondering, not the long nights asking yourself if maybe they were right, maybe there was something missing, maybe if you tried harder, became more, gave everything one more time.

That kind of not-knowing is painful but it has somewhere to go. It has a project. It has another application, another credential, another bar to reach for.

But this knowing.

This quiet, cellular, unshakeable knowing that you were good enough, that you were always good enough, that good enough was never actually the question,

this has nowhere to go.

It just sits with you. It sits with you at the table and watches you eat. It sits with you in the classroom where you are brilliant, where you are exactly, precisely, quietly brilliant, and no one is taking notes on what that costs you to keep offering.

It sits with you and it says,

you already know.

Belonging is a different thing than being good enough.

I had to learn that the hard way, the way you learn things that the body has to teach because the mind keeps finding reasons not to believe them.

I kept thinking that if I reached the standard, belonging would follow.

That competence was a key. That excellence was a door.

I did not understand that some doors are not locked from the outside.

They are simply not doors for you.

Not because of what you lack. Because of what you are.

Because belonging is not earned. It is either extended or it is withheld, and the withholding can be so gracious, so warm, so full of genuine appreciation for everything you contribute,

that it takes you years to name it.

I belonged in the classrooms.

That I know. That I have always known.

I belonged in the moment a student’s face changed, the moment the confusion lifted and something settled in them, some new way of seeing that they would carry forward into a life I would never see.

I belonged in that. I was made for that.

That belonging was real and no one can take it from me, not the committees, not the careful language, not the national searches that somehow always ended somewhere other than me.

But belonging in the institution, belonging in the structure, belonging in the place where your name is permanent, where your labour is protected, where you are not renewed or not renewed like a magazine subscription,

that belonging was never offered.

And I spent nineteen years trying to make myself into someone it would be offered to,

without ever understanding that the offer was never about me.

It was about them. It was always about them. What they needed. What made them comfortable. What fit the picture they had already decided to hang on the wall.

I was good enough. I was more than good enough. I was exceptional in the ways that actually matter, in the ways that change people, in the ways that send students back years later to say I have been thinking about what you said.

I just did not fit the frame.

And here is the grief of that.

The grief that has no clean edges.

The grief that is not about failure because there was no failure, the grief that is not about inadequacy because there was no inadequacy, the grief that lives in the gap between being good and being claimed,

between being valued and being wanted,

between being used and being belonged to.

I was always the one who gave everything.

I was rarely the one they built anything around.

That distinction is a quiet devastation.

It does not announce itself. It accumulates. It is the slow sediment of years of being appreciated but not anchored, celebrated but not secured, needed but not chosen.

They needed me. They just did not choose me.

And I kept hoping that need would become choice, that usefulness would become love, that one morning I would walk in and the room would feel different, would feel like mine, would feel like somewhere my full self was not only welcome but waited for.

It never felt like that.

Not once in nineteen years did it feel like that.

And I kept showing up anyway, because the students were real, because the work was real, because my love for the classroom was real and sturdy and mine, and I was not willing to let the institution’s failure become my abandonment of them.

So I stayed.

And I carried the not-belonging the way you carry something heavy for so long that you forget you are carrying it, forget that your back hurts, forget that you set it down once for a whole summer and felt what it was like to stand up straight.

I carried it into every meeting. Into every application. Into every performance review where they told me I was wonderful and gave me nothing that wonderful deserves.

I carried it home. I carried it into my rest, which was not really rest, which was the place where the weight just became more visible without the distraction of the work.

But I want to say something about the knowing.

The painful knowing, the always knowing, the knowing that never let me off the hook of my own truth.

It is also a gift.

I know that is hard to hear. I know it does not make the grief smaller or the injustice cleaner or the nineteen years feel properly accounted for.

But the knowing means I never disappeared.

I never fully believed the story they were quietly telling about me, the story that said not quite, not enough, not right.

Something in me always knew better.

Some deep, stubborn, luminous part of me held the actual record, the real account of what happened in those classrooms, what I gave, who I was, how carefully and lovingly I did the work they were not even fully watching.

I kept my own record.

And my record says I was extraordinary.

My record says I belonged to the students even when the institution would not claim me.

My record says I walked into rooms that were not designed for me and I made them briefly, beautifully, mine.

I did not belong there.

I have said it now. I have let it be true without making it mean something is wrong with me.

I did not belong there.

And somewhere, there is a place that is already shaped like the person I actually am, a room with no raised bar, no moving target, no warm smile over a closing door.

A room that will look at the lantern and say

oh, we have been waiting for that light.

I have to believe that room exists.

I have to believe it the way I believe in the students who came back, the way I believe in the work that mattered, the way I believe in my own goodness on the days the grief is loudest.

I was always good enough.

I just never belonged there.

And that is their loss, written in nineteen years of what they almost had,

and my life, written in every student who walked out changed.

Aquí estoy. Siempre fui suficiente. Simplemente nunca fue mi lugar.

Here I am. I was always enough. It simply was never my place.

Spanish translations assisted by Google Translate (translate.google.com)

Never Enough

Reading Time: 3 minutes

I learned the word enough the way you learn a language no one speaks in your house.

From the outside. By watching. By getting it wrong and being corrected with a look.

I thought enough was a place. A destination with coordinates. If I worked this hard, if I published this much, if I sat on enough committees, answered enough emails at midnight, held enough office hours, wrote enough letters of reference for people who would never write one back,

I would arrive.

I would finally stand somewhere solid and someone would say, yes, this. You. Here.

They never said it.

There was always one more thing. One more credential. One more specialisation. One more revision. One more year of proving what I had already proven the year before, and the year before that, in the same rooms, to the same people, who kept forgetting they had already seen me.

Or perhaps they never forgot. Perhaps that was the point.

I reached the bar.

I want you to understand that. I reached it. I put both hands on it, pulled myself up, stood on top of it, and looked them in the eye.

And they raised it.

Quietly. Professionally. With a smile that said we only want what is best for the department.

So I climbed again.

I got the specialisation they mentioned. I built the expertise they suggested. I redesigned the courses, updated the research, learned the new framework, attended the conference, wrote the paper, revised the paper, revised the revision, and brought it back.

And they raised it again.

One more thing. There was always one more thing, and I believed each time that this would be the last thing, that this would be the thing that finally made me legible to them, finally translated me into a language they were willing to read.

I gave you everything.

I need to say that plainly, without apology, without softening it for your comfort.

I gave you my mornings before my children were awake. I gave you my evenings after my body had already given out. I gave you my health, my rest, my capacity for joy, the slow years of my life that I will not get back, offered up like evidence, like if I just bled enough in the right places you would finally call it qualified.

I gave you my expertise and you used it while deciding someone else deserved to own it.

I gave you my loyalty and you gave me contract renewal pending.

I gave you my belief that the system worked, that merit was real, that the path was honest, that if I followed every instruction the door would open.

And you raised the bar one final time and called it a national search.

Never enough.

It sounds like a personal failing. It sounds like something that lives in the one who is lacking.

But I have seen enough now to know the shape of it, the architecture of a system that needs you insufficient, that requires your hunger to function, that would lose its power the moment you believed you were already whole.

Never enough was never about me.

It was a door with no handle on the inside.

It was a game with rules that changed when I learned them.

It was a bar on a pulley held by hands that were never going to let it rest.

I am done climbing.

I am done bringing more to people who have decided that more will never be the right amount.

I am enough in the way a river is enough, in the way the morning is enough, in the way nineteen years of changed lives is enough,

whether they counted it or not.

They never counted it.

But I do.

Aquí estoy. Siempre he sido suficiente. I have always been enough.

Spanish translations assisted by Google Translate (translate.google.com)

Abstract image of shallow sea water washing over pale sand, creating layered textures of green, white, and grey.

What the Tide Has Always Known
Photo Credit: Amy Tucker, 2026

Artist Statement: I took this photograph at the edge where the water returns, where the sea neither tries nor explains itself, but arrives. I was thinking about the word enough. How the tide does not credential itself before reaching shore. How the water does not revise itself to please the sand. I photographed it from above, looking down, trying to learn something I had been taught to forget: that arriving is not the same as being permitted. That the shore receives the tide because the tide is the tide, not because the tide proved it deserved to be.


Translation Note: Spanish phrases in this poem were assisted by Google Translate (translate.google.com). The Spanish is woven in as an act of reclamation, a return to a language of the body and the self that exists beyond institutional English.

You Are Not Qualified

Reading Time: 3 minutes
They said it with such clean mouths, such pressed collars, such careful grammar,
as if the words were a gift and I should be grateful for the clarity.

You are not quite what we are looking for.

I went home and looked in the mirror for the missing thing,
the gap between my face and the face they had already chosen
before I walked through the door.

I counted my degrees like rosary beads. I counted my years.
I counted the papers, the classrooms, the students who wept at the end of term
and said, you changed something in me.

None of it was currency here.

They smiled while they did it. That is the part that stays,
the smile, the warmth in the room while I was being measured
against a ruler I was never meant to hold.

I rewrote my letter. I softened my edges. I learned their language
the way an immigrant learns to laugh at jokes that are about her.

I applied again.

We had many strong candidates this year.

I bought a new suit. I straightened what was already straight.
I arrived early, stayed late, published in their journals,
cited their names like prayers, sat on the committees no one wanted,
carried the invisible work in both arms like groceries up four flights of stairs,
and smiled, because you must always smile.

We felt someone else was a better fit.

Better fit.

A sock drawer. A parking space. A peg in the right-shaped hole.

I have an education. I have nineteen years.
I have read every book they told me would be enough,
and then the next book, and the next,
following the breadcrumb trail they kept moving just ahead of my hand.

I taught the exact same courses.
I stood in the exact same rooms, at the exact same hour,
holding the exact same ideas they would later decide
required someone else's mouth.

And when they said no, I punished myself with more work,
more late nights, more hours offered up like proof,
like penance, like if I just gave enough of myself
there would finally be nothing left to reject.

The cruelest part is that I believed them.

For so long, I believed the problem lived in me,
in the particular shape of my ambition,
the particular sound of my voice,
the particular way I took up space,
which was always either too much
or so little I became furniture.

I have sat in rooms where the air itself said this was never designed for you,
and smiled, and contributed, and been thanked in the minutes no one reads.

I have been told I am inspiring.

Inspiring is what they call you when they have decided you are a visitor.

You are not qualified.

Say it again. Say it clean.

Let it mean what it has always meant,
underneath the careful grammar,
underneath the pressed collars,
underneath the warmth in the room while the door was already closing.

I am still here.

I am still here, which is its own kind of answer,
though I am so tired of the question being me.

Aquí estoy.
— *Spanish translations assisted by Google Translate (translate.google.com)*
Silhouette of a pigeon perched on a ledge, backlit by a bright sun through a hazy grey sky, photographed through glass.

The One Who Stayed Anyway
Photo Credit: Amy Tucker, 2026

Artist Statement: I photographed this pigeon through the glass of a window I was not sure I was allowed to stand at. The bird did not know it was being watched, or did not care. It had chosen the ledge. It was facing the sun. This photograph belongs beside this poem because the bird did not ask permission to remain, and it remained. The light behind it is almost too bright to look at. That felt right.


Translation Note: Spanish phrases in this poem were assisted by Google Translate (translate.google.com). The Spanish is woven in as an act of reclamation, a return to a language of the body and the self that exists beyond institutional English.

Literature Review Section: Somatic Labour, Structural Harm, and the Body as Evidence, Scholarly Foundations for the VPAS Framework

Reading Time: 16 minutes

Somatic Labour, Structural Harm, and the Body as Evidence: An Extended Literature Review Section

Why I Needed More Than I Already Had

I want to be honest about why this section exists. When I finished the foundational literature review, the one tracing Nash (2004), Brown (2010, 2012), van der Kolk (2014), Haraway (1988), and the others who gave VPAS its bones, I felt something unresolved in my chest. The intellectual genealogy was there. The methodology was grounded. But there was a dimension of what I had lived through in nineteen years of contract academic faculty work at Thompson Rivers University that none of those frameworks, taken alone, could fully name. What I had experienced was something more specific: the invisible, uncompensated, daily work of managing my body’s responses to a chronically threatening institutional environment while performing enthusiasm, care, and collegial warmth as conditions of continued employment. I needed language for that. I found it in the scholarship this section reviews.

This section is, in itself, an act of SPN methodology: I am telling you what I needed, why I needed it, and what I found. The theoretical content is real and rigorously sourced, but the path to it was personal before it was scholarly. That is the VPAS order: V before P, embodied experience before structural analysis. I am following that order here even in the literature review itself, because the literature review is also a research document, and its shape should model the methodology it describes. All sources have been verified for publication year, author, title, and publisher accuracy as of March 2026. References follow standard scholarly citation format throughout.

Somatic Labour: Finding a Name for What My Body Had Been Doing

The term I have come to use for what I experienced across nineteen contract years is somatic labour. I define it as the invisible, uncompensated, and structurally produced work of managing the body’s physiological responses to chronically threatening institutional environments. It is labour in the full economic sense: it consumes time, energy, and physical capacity; it is performed in the service of institutional functioning; and it is extracted without acknowledgement or compensation from the workers who perform it. I arrived at this term by triangulating three bodies of scholarship that each named part of what I had been carrying.

The first was Hochschild (1983). In The Managed Heart: Commercialization of Human Feeling, Hochschild named what she called emotional labour: the work of managing one’s emotional expressions in the service of organizational goals. Her research focused on flight attendants and bill collectors, and she identified two strategies workers use: surface acting, changing one’s outward expression without altering one’s inner state, and deep acting, attempting to genuinely induce the required emotional state from the inside. I read Hochschild and felt the precise architecture of what I had been doing for two decades. Every email to a department chair I disagreed with, every performance of enthusiasm at a professional development day designed for tenure-track faculty, every moment of visible warmth in a hallway conversation with a colleague who had no idea my contract expired in three months: surface acting and deep acting, repeated thousands of times, in service of an institution that kept no record of that labour and carried none of its cost. Hochschild’s framework gave me the first piece of the language I needed, and it is directly formative of the P component of VPAS, which requires the structural analysis that moves personal experience from “I am exhausted” to “this exhaustion was extracted.”

The second tradition was the affective labour scholarship developed by Hardt and Negri (2000) in Empire and extended in Multitude (2004). Hardt and Negri define affective labour as labour that produces or modifies social relationships, affects, and subjectivities rather than discrete material commodities. Reading this, I understood something I had been unable to name before: the specific thing I produced in every classroom, every office hour, every email written with care, was a relational and affective environment. Students felt seen. They felt intellectually challenged and personally supported. That relational environment was the output of my labour, and it accrued entirely to the institution. The institutional reputation for strong teaching in the humanities, the student retention that followed from feeling genuinely taught rather than processed: those benefits were institutional. The costs, the fraying of my own relational capacity, the erosion of the energy I might have directed toward my own scholarship, were mine alone. Lazzarato (1996) names this economy of immaterial labour with precision that I find both clarifying and enraging, which is exactly the response the P component is designed to produce: structural analysis that refuses to allow the personal cost to remain individualized and invisible.

The third tradition was Levine (1997). In Waking the Tiger: Healing Trauma, Levine argued before van der Kolk’s work reached wide public circulation that traumatic experience produces specific physiological responses that persist in the body as chronic holding patterns: muscular tension, altered breathing, disrupted digestive function, nervous system dysregulation. Levine added something I found crucial: the body’s responses to threat are adaptive. Their persistence reflects the body’s accuracy as a recording instrument. The body that tightened every September when the new contract had arrived late, and that learned to brace for the institutional silence that sometimes stretched weeks past the teaching start date, was functioning exactly correctly. It was recording the conditions it inhabited. The A component of VPAS is built on this premise: what the body does is evidence, and the scholar’s obligation is to document that evidence rather than dismiss it as merely personal or merely emotional.

How This Scholarship Shapes What VPAS Does

I want to be specific about how the scholarship in this section changed the framework I was building, because the contribution is concrete rather than general.

Hochschild (1983) and Hardt and Negri (2004) gave the P component its structural precision. Before I had read them carefully, I knew the P component needed to connect personal experience to structural conditions. But “structural conditions” was doing too much work as a phrase: it was simultaneously too broad and too abstract. What Hochschild and Hardt and Negri gave me was specificity. The structural condition I was naming was the institutional appropriation of affective and relational labour without acknowledgement, compensation, or reciprocity. That is a precise claim, and it is the kind of precise claim the P component requires if it is to function as structural analysis rather than as frustrated complaint. I owe these theorists the difference between those two things.

Levine (1997), alongside van der Kolk (2014) and Porges (2011), gave the A component its epistemological confidence. I had always included the A component in VPAS because I believed bodily action was evidence, but I had a nagging awareness that this belief required defence. What if a doctoral committee member, trained in positivist methodology, asked me to justify treating my own body’s actions as research data? Levine, van der Kolk, and Porges together constitute that justification. Levine establishes that physiological responses to structural conditions are adaptive and accurate. Van der Kolk establishes that they are measurable and lasting. Porges establishes that they are theorisable within a map of nervous system states that any scholar can read. My body’s actions during thirty days at the Sea of Cortez, including the compulsive productivity of the first week, the insomnia of Days 8 through 11, the first afternoon I sat still without checking my phone on Day 16, and the reach for colour on Day 27, are the argument. This section of the literature review is what makes that claim defensible in a doctoral context.

The critical wellness scholarship reviewed below, particularly Lorey (2015), Cvetkovich (2012), and Han (2015), gave the P component something I had been circling without quite catching: a framework for critiquing institutional wellness discourse that manages the symptoms of structural harm while making the structural conditions that produced it more stable and less visible. I had been calling this malperformative care in my thinking, and finding the scholarly language for it in Austin’s (1962) performativity theory and Butler’s (1993) extensions changed the quality of the structural analysis I was capable of. The P component can now name precisely why an Employee Assistance Programme that offers contract faculty counselling for occupational distress is structurally insufficient: it performs care without producing the structural change that genuine care would require. That is a theoretical claim grounded in verified scholarship, and VPAS required it.

Finally, the phenomenology of attention scholarship, Kaplan and Kaplan (1989), Zajonc (2009), and Hart (2004), gave me the theoretical language for something that was happening in the A component that I had been describing only photographically. When I stopped photographing in black and white on Day 27 and reached, without conscious decision, for colour, I knew something had shifted. I knew it was evidence. What I lacked was the scholarly vocabulary to explain what kind of knowing that was, and why the absence of conscious decision was the most significant part. Zajonc’s (2009) concept of delicate empiricism, knowing that remains present to the phenomenon before rushing to categorize or interpret, names exactly the epistemological quality of that moment. The A component is, at its best, an act of delicate empiricism: documenting what the body did before the analytical mind has processed what it means. This section grounds that claim in a verifiable scholarly tradition.

Ahmed and the Feeling of Being Out of Step

I came to Ahmed (2004) through recognition rather than through affect theory. Reading The Cultural Politics of Emotion, I encountered her concept of the “affect alien”: the person whose feelings fail to align with the dominant affective scripts of their environment. Ahmed argues that happiness is socially directed, oriented toward institutionally approved objects, and that those who feel grief, rage, or exhaustion where they are expected to feel gratitude or enthusiasm are treated as misaligned, difficult, or ungrateful. I had felt misaligned, difficult, and ungrateful for years without having a theoretical frame for why those labels were structural rather than personal. Ahmed gave me that frame. The contract faculty member who cannot sustain performed enthusiasm for an institutional culture that has never acknowledged her labour is an affect alien in Ahmed’s sense. The V component of VPAS creates the scholarly space in which the affect alien can document her experience with rigour and without apology, and the P component establishes that her misalignment is a structural effect rather than a personal failure.

Ahmed (2012), in On Being Included, extended this analysis into institutional diversity discourse, examining the affective demands placed on racialized and marginalized scholars by institutions that claim commitment to inclusion while maintaining the structural conditions that produce exclusion. I hold this extension with care, because my own positionality as a white settler academic means that the intersectional dimensions of what Ahmed describes in this text exceed my own experience. I include it here because the VPAS Framework must be legible and usable beyond my own positionality, and Ahmed’s (2012) analysis identifies dimensions of structural harm that the P component must be capable of naming even where they diverge from my own.

Berlant’s (2011) concept of cruel optimism arrived in my reading life at the right moment. Berlant defines it as the condition in which something one desires is also an obstacle to one’s flourishing. I had spent years attached to the possibility of a permanent position at an institution that was structurally committed to the contingency of my employment. That attachment was real, and it was instrumentalized: it kept me available, compliant, and willing to absorb costs that a worker without that attachment would have refused. The P component of VPAS requires the scholar to identify the structural conditions that produced their experience, and Berlant insists that those conditions include the internal attachments that the institution cultivates and exploits. I find this the most uncomfortable theoretical claim in the framework, because it requires me to analyse my own hope as a site of structural vulnerability. I include it because the scholarship that makes us uncomfortable with our own collusions is often the scholarship that matters most.

Naming Malperformative Care

There is a thing that happens in institutions that I have been trying to name accurately for years. It looks like care. It has the structural features of care: employee assistance programmes, counselling referrals, mental health days, wellness committees, mindfulness workshops offered in the late afternoon when contract faculty have already taught three sections and answered sixty emails. It has the language of care: resilience, self-care, boundary-setting, work-life balance. What it does, functionally, is manage the symptoms of structural harm in ways that make the structural conditions that produce those symptoms more stable and less visible. I call this malperformative care, and finding the scholarly vocabulary to ground that term changed the quality of the P component’s structural analysis.

The term draws on Austin’s (1962) concept of performative speech acts and Butler’s (1993) extension of performativity in Bodies That Matter. A malperformative act is one that goes through the formal motions of a practice while systematically failing to produce the substantive outcomes that practice is designed to achieve. Lorey’s (2015) analysis of governmental precarisation provided the political economy framing: Lorey argues that wellness discourse functions as a technology of precarisation by individualizing the response to structural harm, making the structural conditions that produce the harm more stable and less contestable. Reading Lorey alongside Austin and Butler gave me the theoretical architecture for a claim I had been making experientially for years.

Cvetkovich (2012), in Depression: A Public Feeling, offered something unexpected: permission to understand the Third Shore blog as a depression archive. Cvetkovich develops this concept to name collections of cultural and personal documents that testify to the structural conditions that produce collective emotional suffering. She insists that depression in academic and activist contexts is a political condition with political causes, and that treating it as individual pathology requiring individual treatment is itself a political act. The Third Shore project is a depression archive in Cvetkovich’s sense: it is a structured scholarly record of what structural harm costs the body that inhabits it, and what recovery requires. The VPAS Framework is the structure that makes that record rigorous rather than merely confessional.

Han (2015), in The Burnout Society, named something I recognized in my own first week at Loreto. Han argues that contemporary neoliberal societies produce burnout through the imperative of achievement: the worker internalizes productivity norms so thoroughly that exploitation becomes self-exploitation. I arrived at the Sea of Cortez with a research plan, a content calendar, and a daily writing quota. I was on unpaid leave, sitting on a beach in Baja California, and I was performing productivity for an audience of one. Han’s analysis explains why: the achievement imperative persists even when the institutional context disappears, because it has been internalized as self. The VPAS Framework’s A component documents this: the first entries from Loreto are characterized by a quality of strained industry that the later entries have moved past, and that difference is evidence. Han gives me the theoretical language for what that evidence means.

Metzl and Hansen (2014), in their Social Science and Medicine article, introduced structural competency: the capacity to recognize that health outcomes are produced by structural conditions rather than individual behaviour or biology alone. Their argument is that structural competency requires practitioners to shift analysis from lifestyle choices to structural determinants. I have found this framework clarifying for the P component in a specific way: structural competency is the epistemological orientation the P component enacts. Every time a VPAS entry moves from “I was exhausted” to “I was exhausted because the institution extracted nineteen years of affective and somatic labour without acknowledgement or compensation,” it is performing structural competency. This is a clinical and policy framework I am applying to scholarly self-analysis, and the translation is legitimate because the structural conditions that produce harm in health contexts and the structural conditions that produce harm in academic labour contexts are, in many cases, the same conditions.

Attention, Restoration, and What the Sea Was Actually Doing

I spent a long time in the early entries from Loreto trying to be productive. I photographed on schedule. I wrote on schedule. I held to the research plan with a rigidity that, reading those entries now, I recognize as a nervous system still operating in threat-activation. What I was unable to do, for nearly two weeks, was simply be present to the environment without converting presence into output. The shift, when it came, was a change in the quality of my attention that preceded any conscious choice.

Kaplan and Kaplan (1989) developed Attention Restoration Theory in The Experience of Nature: A Psychological Perspective, and reading it I found the theoretical framework for what the Sea of Cortez was doing to my nervous system across thirty days. Their theory identifies four properties of restorative environments: being away, a change of context that interrupts habitual attentional demands; extent, an environment rich enough to occupy the mind without effort; fascination, stimuli that capture attention involuntarily; and compatibility, an environment that matches one’s current needs and inclinations. The Sea of Cortez offered all four, and Kaplan and Kaplan’s research provides the evidence that these properties are reliably associated with the recovery of directed attentional capacity. The A component documents this recovery: the entries from Days 14 through 30 have a different quality of attention in them, a slower rhythm, a longer gaze, a willingness to describe rather than immediately analyse. That difference is data. Kaplan and Kaplan’s framework is what allows me to claim it as such.

Zajonc (2009), in Meditation as Contemplative Inquiry: When Knowing Becomes Love, gave me the phrase I have returned to most often in thinking about what the A component is actually doing at its best: delicate empiricism. He draws the concept from Goethe’s scientific method, which required the scientist to remain present to the phenomenon without rushing to categorize, explain, or reduce it. This is precisely what the A component asks the scholar to do: document what the body did before the analytical mind has processed what it means. The reach for the colour photograph on Day 27 was delicate empiricism before I had words for it. My body knew something my analytical mind had yet to organize into an argument. The A component is the methodological instrument that preserves that prior knowing as evidence, and Zajonc is the theoretical source that establishes why that preservation is epistemologically significant rather than merely charming.

Hart (2004), in “Opening the Contemplative Mind in the Classroom,” published in the Journal of Transformative Education, documents what he calls contemplative knowing: a mode of knowing that integrates intuition, imagination, and felt sense alongside analytical reasoning, and that produces forms of insight that analytic knowing alone is unable to generate. Hart was writing about pedagogy, but the implications for VPAS are direct. The framework’s sequence, V before A before P before S, is a contemplative sequence: it begins in felt experience, documents embodied action, and only then moves to structural analysis and theoretical engagement. The S component grounds the V and A components in a scholarly conversation that extends their reach, without displacing them. Hart’s work confirms that this sequence is epistemologically coherent.

The Blog as Counter-Archive

There is something I want to say directly about why the Third Shore blog exists as a public document rather than as a private research journal. I want to say it in the language this section of the literature review has been building, because I think the theoretical framing changes what the claim means.

Thompson Rivers University maintains an official archive of institutional life. That archive contains enrolment numbers, completion rates, course evaluation scores, budget allocations, and strategic plan documents. It contains no record of what it cost the bodies of contract faculty members to produce those numbers across decades of structural insecurity. It contains no record of the somatic labour, the emotional and affective extraction, the physiological holding patterns that nineteen years of precarious employment produced in the people who delivered the institution’s teaching. That record is absent from the official archive, because its presence would require the institution to acknowledge costs it has invested in making invisible.

Stoler (2002), in Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial Rule, theorized the colonial archive as a technology of governance that structures what can be known, who can know it, and whose experience is rendered legible as evidence. I am working at a much smaller institutional scale than Stoler, but her framework applies: the institutional archive is a technology of governance, and what it excludes is a political choice. The Third Shore blog, and the VPAS Framework that structures it, produces a counter-archive: a record of the experience that the official archive omits. The V component archives somatic and emotional evidence. The P component archives structural analysis that connects that evidence to systemic conditions. The A component archives embodied action as primary research data. The S component archives theoretical engagement that makes the record scholarly rather than merely testimonial. Every VPAS entry is an archival act, and the archive it is building is the one the institution has chosen to leave unmade.

Derrida (1996), in Archive Fever: A Freudian Impression, argues that the drive to archive is always also a drive to destroy competing records: the official archive actively forecloses other records as much as it preserves; forms of preservation. Reading this in the context of my own institutional experience, I understood something about the specific form of harm that precarious academic labour inflicts: it is designed to be forgotten. Contract faculty leave. Their labour disappears into the institution’s outcomes without a paper trail that connects the outcome to the worker who produced it. The Third Shore project is my refusal of that forgetting. The VPAS Framework is the methodological structure that makes that refusal scholarly rather than merely sentimental, rigorous rather than merely angry.

Table 6: The Scholarship This Section Adds to VPAS

The following table maps the additional scholarly sources reviewed in this section to the VPAS components they most directly inform. It follows the format established in the foundational literature review and is numbered Table 6 accordingly.

Scholar(s)Key WorkVPAS Component(s)What It Gave the Framework
Hochschild (1983)The Managed HeartP, VNamed emotional labour as structural extraction; gave P the precision to distinguish personal exhaustion from institutional appropriation
Hardt and Negri (2004)MultitudePAffective labour theory; relational outputs of teaching accrue to institutions; costs borne exclusively by workers
Levine (1997)Waking the TigerABody’s responses are adaptive and accurate; somatic holding patterns are reliable evidence; grounds A component’s epistemological confidence
Ahmed (2004)The Cultural Politics of EmotionV, PAffect aliens; V creates space for misaligned feeling; P names misalignment as structural effect rather than personal failure
Ahmed (2012)On Being IncludedPCompound affective demands on marginalized scholars; intersectional dimensions the P component must name
Berlant (2011)Cruel OptimismPInternal attachments as sites of structural exploitation; P must analyse hope as well as harm
Cvetkovich (2012)Depression: A Public FeelingV, PThird Shore as depression archive; V and P as archival functions producing a structured scholarly record
Han (2015)The Burnout SocietyP, AAchievement imperative; self-exploitation; A documents its costs across Loreto entries; P names its structural source
Metzl and Hansen (2014)Structural CompetencyPP as structural competency in practice; shift from “I was exhausted” to naming the institutional extraction that produced it
Kaplan and Kaplan (1989)The Experience of NatureAAttention Restoration Theory; A documents attentional recovery across 30 days; Sea of Cortez as restorative environment with all four ART properties
Zajonc (2009)Meditation as Contemplative InquiryA, VDelicate empiricism; A preserves the body’s prior knowing before analytical processing; Day 27 colour shift as primary evidence
Hart (2004)Opening the Contemplative MindA, SVPAS sequence as epistemologically coherent contemplative structure; contemplative knowing as legitimate scholarly mode
Stoler (2002)Carnal Knowledge and Imperial PowerAllCounter-archive theory; each VPAS entry as a record the official institutional archive has chosen to leave unmade
Derrida (1996)Archive FeverAllOfficial archives foreclose competing records; Third Shore as methodological refusal of institutional forgetting
Table 6. Additional Scholarly Sources and Their Contributions to the VPAS Framework. Sources verified for publication year, author, title, and publisher accuracy as of March 2026. All references follow standard scholarly citation format. Tucker (2026) refers to the current author’s doctoral research at Royal Roads University.

Three Gaps I Cannot Yet Fill

I want to close this section by naming three places where the scholarship runs out before the questions do, because an honest literature review acknowledges the limits of what the literature can currently provide.

The first is the intersection of somatic labour and disability. The scholarship on emotional labour (Hochschild, 1983) and affective labour (Hardt & Negri, 2004) has been substantially developed within feminist, labour, and cultural studies, but its intersection with disability studies and the specific somatic experiences of disabled academic workers remains underdeveloped. Price (2011), in Mad at School: Rhetorics of Mental Disability and Academic Life, provides one entry point, documenting how academic institutional norms are built around assumptions of neurotypical and able-bodied functioning that systematically exclude and harm disabled scholars. The VPAS Framework’s A component, with its emphasis on what the body actually did, requires future development that is accountable to the diversity of bodily experience across disability, chronic illness, and neurodivergence. This is a gap I hold with seriousness rather than with reassuring gestures toward future work.

The second gap is methodological: the relationship between the daily A component documentation the VPAS Framework produces and the longer-term patterns of somatic evidence it accumulates is underspecified. Van der Kolk (2014) and Levine (1997) both address the long-term patterning of somatic responses, but the protocols for connecting individual daily entries to longitudinal somatic analysis have yet to be developed for a framework like VPAS. The thirty sequential days of the Third Shore project may offer a starting point for that development, but the work remains ahead.

The third gap is about reach. Ahmed (2004), Berlant (2011), and Han (2015) have all found readers well beyond their academic disciplines, because the experiences they theorize are widespread and the language they offer is clarifying rather than merely specialized. The application of these frameworks to Canadian post-secondary labour conditions has so far been largely confined to academic audiences. The VPAS Framework’s blog form is an attempt to close that gap: to produce scholarship that travels between the doctoral committee and the contract faculty member reading on their phone between classes, and that is legible and useful to both. Whether that attempt succeeds is an empirical question I am still living inside.

Additional References

Ahmed, S. (2004). The cultural politics of emotion. Edinburgh University Press.

Ahmed, S. (2012). On being included: Racism and diversity in institutional life. Duke University Press.

Ahmed, S. (2014). Willful subjects. Duke University Press.

Austin, J. L. (1962). How to do things with words. Oxford University Press.

Butler, J. (1993). Bodies that matter: On the discursive limits of “sex.” Routledge.

Cvetkovich, A. (2012). Depression: A public feeling. Duke University Press.

Derrida, J. (1996). Archive fever: A Freudian impression (E. Prenowitz, Trans.). University of Chicago Press. (Original work published 1995)

Han, B.-C. (2015). The burnout society (E. Butler, Trans.). Stanford University Press. (Original work published 2010)

Hardt, M., & Negri, A. (2000). Empire. Harvard University Press.

Hardt, M., & Negri, A. (2004). Multitude: War and democracy in the age of empire. Penguin Press.

Hart, T. (2004). Opening the contemplative mind in the classroom. Journal of Transformative Education, 2(1), 28-46. https://doi.org/10.1177/1541344603259311

Hochschild, A. R. (1983). The managed heart: Commercialization of human feeling. University of California Press.

Kaplan, R., & Kaplan, S. (1989). The experience of nature: A psychological perspective. Cambridge University Press.

Lazzarato, M. (1996). Immaterial labour. In P. Virno & M. Hardt (Eds.), Radical thought in Italy: A potential politics (pp. 133-147). University of Minnesota Press.

Levine, P. A. (1997). Waking the tiger: Healing trauma. North Atlantic Books.

Maslach, C. (1982). Burnout: The cost of caring. Prentice-Hall.

Massumi, B. (2002). Parables for the virtual: Movement, affect, sensation. Duke University Press.

Metzl, J. M., & Hansen, H. (2014). Structural competency: Theorizing a new medical engagement with stigma and inequality. Social Science and Medicine, 103, 126-133. https://doi.org/10.1016/j.socscimed.2013.06.032

Price, M. (2011). Mad at school: Rhetorics of mental disability and academic life. University of Michigan Press.

Sedgwick, E. K. (2003). Touching feeling: Affect, pedagogy, performativity. Duke University Press.

Stoler, A. L. (2002). Carnal knowledge and imperial power: Race and the intimate in colonial rule. University of California Press.

Zajonc, A. (2009). Meditation as contemplative inquiry: When knowing becomes love. Lindisfarne Books.

Poem: Cell B14 (Amy)

Reading Time: 3 minutes
She used to have a name.
Now she is a number
in a column
next to other numbers
who also used to have names
and also no longer matter.

Row 14. Column B.
The spreadsheet does not know
she spent seven years
dragging the uncounted
through doors that were never meant to open,
that she memorized the language of people
who hoped she would not learn it,
that she came back.
Every time.
She came back.

The spreadsheet does not care.

The formula is elegant in its cruelty:
hours input, output divided,
worth calculated,
Amy rounded down,
the remainder discarded.

She does not fit the cell.
She has never fit the cell.
Eighteen years of spilling into margins,
of filing what they hoped would be lost,
of standing in rooms designed
to make people like her
feel like footnotes,
and refusing,
loudly,
to be a footnote.

#VALUE, says the spreadsheet.
#VALUE, says the formula.
#VALUE, says the institution
that has never once
said her name correctly.

Somewhere, a cursor hovers.
Someone in a building
she was never given a key to
selects her, drags her,
considers deleting her,
decides to just move her
somewhere less visible.

The spreadsheet autosaves.
Amy is preserved.
Amy is a number.
Amy is, according to the data, fine.

The data has never sat across a table from Amy.
The data has never watched her open her mouth
in a room full of people
who were counting on her not to.
The data would not have lasted a semester.

Amy has lasted eighteen years.

The spreadsheet will not be thanked.

Cell B14 (Amy)

This image has an empty alt attribute; its file name is E3E2F96A-98FB-4A7E-A036-F7959F2D61C9_1_102_o-768x1024.jpeg
© Amy Tucker, March 15, 2026

Artist Statement

I was standing at the edge of something I could not name yet: a fence that had been there longer than the argument it was built around, a tangle of dry roots that had outlasted their season. I photograph what the poem cannot hold. The image is not an illustration; it is the part that stays quiet. Where the verse spills into white space, the photograph stands still and waits. Together, they are the same act: the refusal to let a moment be rounded down and discarded.

A small heart-shaped cactus in a terracotta pot, labelled and priced, sitting on a greenhouse shelf among other plants.

Rooted in Difficult Soil
Photo Credit: Amy Tucker, 2026

Artist Statement: I found this cactus in a greenhouse, labelled and priced, shaped unmistakably like a heart, growing out of a small pot of rocky soil with a stick holding it upright. Something about it stopped me. It had been tagged and categorized, given a name, a number, a value, and it was still, without apology, a heart. I photograph what the poem cannot hold. This image is the part that stays quiet while the poem says everything else. Together they are the same refusal: to be reduced to the cell, the row, the formula. The cactus does not explain itself. Neither does Amy.


Translation Note: Where Spanish appears in this collection, it was assisted by Google Translate (translate.google.com). The Spanish is woven in as an act of reclamation, a return to a language of the body and the self that exists beyond institutional English.

The Third Shore

Reading Time: 32 minutesThe concluding creative thesis chapter of 30 Days by the Sea. A scholarly personal narrative gathering the discoveries of thirty days of alonetude by the Sea of Cortez.

Reading Time: 32 minutes

What Was Found, What Was Made, What Remains


Concluding the Creative Thesis

30 Days by the Sea: A Research Inquiry into Alonetude

Amy Tucker

Master of Arts in Human Rights and Social Justice

Thompson Rivers University

Secwépemc Territory  |  Kamloops, British Columbia

March 1, 2026


Audre Lorde (1988) argued that tending to one’s own survival and well-being is a political act rather than a private luxury, a form of resistance against systems that benefit from the exhaustion and self-erasure of those they marginalize.

Keywords: alonetude, creative thesis, precarious academic labour, embodiment, human right to rest, scholarly personal narrative, body-based inquiry, arts-based research, healing, social justice


Part I: The Threshold Crossed

I went to Loreto for a reason I could barely articulate at the time. I had lost the capacity to feel the difference between exhaustion and living, and I needed to know whether that difference still existed.

After nineteen years of precarious academic labour, contract work that renewed semester by semester, sometimes week by week, always with the implicit understanding that gratitude was the appropriate response to continued employment, I was laid off due to unstable enrolments. The termination arrived less as a single event than as the final gesture of a system that had been slowly extracting my health, my time, my creative energy, and my sense of worth for more than two decades. By the time it ended, my body had been keeping score for so long that I could no longer read the tally.

So I went to the sea. I went to Loreto, Baja California Sur, Mexico, a small town on the Sea of Cortez where desert mountains meet turquoise water, and pelicans dive without needing permission. I went alone. I stayed for thirty days. And I documented what happened when a woman who had spent her adult life performing competence, availability, and resilience finally stopped performing anything at all. I called this practice alonetude (defined in this study as intentional, embodied solitude practised as a method of healing, reflection, and critical inquiry), and I wrote about it every day on a blog called The Third Shore.

This document is the concluding chapter of that creative thesis. It gathers what was found, names what was made, and offers what remains, offered as reckoning rather than resolution. A reckoning with the body. With the institution. With the structures that produce exhaustion and then pathologize the exhausted. With what it means to heal in public, through scholarship and art, and to insist that the personal is more than political: it is methodological.

Aquí estoy. Here I am. Still.

What I Carried

I arrived in Loreto on January 1, 2026, carrying a suitcase, a camera, books, and a body that had forgotten how to rest without guilt. The body is, as Bessel van der Kolk (2014) argues, an archive. Mine held nineteen years of contract uncertainty, of scanning inboxes for renewal notices, of performing wellness during semesters when depression had made getting dressed an act of will. My shoulders had been braced so long that I no longer noticed the bracing. My jaw ached from holding words I was unable to afford to say. My sleep had been fractured for years, my nervous system perpetually scanning for threat in the way that Stephen Porges (2011) describes as the body’s instinct to scan for safety, the body’s unconscious assessment of safety or danger operating below conscious awareness.

I also carried grief. My adult son was deep in addiction, and I had been witnessing his disappearance, what Pauline Boss (1999) names ambiguous loss, the grief that arrives when someone is physically present but psychologically gone. My mother, eighty years old in Lethbridge, was declining slowly, and I was learning that midlife is the season when you parent in both directions simultaneously. I carried the accumulated weight of generational care.

And I carried a question that had been forming for months, a question I had yet to articulate fully but that Byung-Chul Han (2015) would later help me name: What happens when the structures meant to sustain us are the very structures producing our exhaustion?

This inquiry enters an established conversation about the value of solitude in intellectual and creative life. Paul Tillich (1963) explored how solitude functions less as absence than as presence, a condition in which the self becomes available to itself. More recently, scholars in contemplative studies have examined how sustained aloneness supports reflection, creativity, and moral discernment. Alonetude extends rather than borrows from this tradition by situating solitude within the specific conditions of precarious academic labour and by proposing that chosen solitude can function simultaneously as a personal healing practice, a methodological approach, and a structural critique.


What the Sea Received

Title: What the Sea Receives

Wide sky over the Sea of Cortez at Loreto, Baja California Sur, January 2026
January 29, 2026

Photo Credit: Amy Tucker, January 2026

Artist Statement

The sky was rarely still. It moved in layers, cloud pulling against cloud, light shifting across the water in patterns that required nothing of the witness but attention.

This photograph was taken on an early morning walk along the shore, the camera tilted upward as though the horizon itself had shifted. The Sea of Cortez stretches away at the left edge, mountains dissolving into haze at the far shore. What drew me was the asymmetry of the sky, the way the clouds gathered and thinned without effort or audience.

Rachel and Stephen Kaplan (1989) describe this quality as the gentle pull of the natural world: the capacity of natural environments to hold attention gently, without cognitive demand, allowing depleted attentional resources to replenish. I stood here for a long time. The minutes went uncounted. That, too, was data.

The sea received all of it. Water is metaphorically healing, yes, but because the sea requires no performance. It holds no evaluation. The tide comes in regardless of whether you are productive or paralyzed, published or precarious. The pelicans dive without concern for your curriculum vitae.

As described in the preceding artist statement, it is the gentle pull of the natural world that served as medicine. For thirty days, the Sea of Cortez offered it freely. I watched. I walked. I photographed. I wept. I wrote. And slowly, in increments so small they were sometimes invisible, my nervous system began to recalibrate.

Descansa, the sea seemed to say. Rest. And I did. And I wept. And both were holy.

A Note on Who I Am and Where I Stand

I am a white, settler, cisgender woman. I am a contract academic worker with 19 years of experience, now completing a Master of Arts in Human Rights and Social Justice at Thompson Rivers University on Secwépemc Territory. I write from within the very conditions I am studying. My body has been a site of precarious labour and its aftermath. My experience of exhaustion, recovery, and alonetude is simultaneously my subject of inquiry and my method of knowing. I hold both the specific vulnerability of a contingent worker and the specific privilege of someone with the education, means, and mobility to spend thirty days by the sea. I name both because both are true, and because the scholarly personal narrative tradition (Nash, 2004) asks us to be accountable to the lived ground of our knowing.


Part II: Findings, What the Body Learned

This research documented a thirty-day solo retreat through daily written reflection, contemplative photography, and theoretical analysis, producing an integrated qualitative record of embodied experience. The thirty-day retreat unfolded in four distinct phases, each documented through daily blog entries that combined the Scholarly Personal Narrative methodology with contemplative photography, creative writing, and interdisciplinary theoretical engagement. The phases arrived without being planned in advance. They emerged, as qualitative data does, through the process of attending to what was actually happening rather than imposing a predetermined framework onto experience.

Robert Nash (2004) describes Scholarly Personal Narrative as a methodology that positions lived experience as legitimate scholarly data when properly theorized within academic frameworks. Nash (2004) often describes Scholarly Personal Narrative as involving three interwoven voices operating simultaneously: the personal voice that speaks authentically from lived experience, the scholarly voice that contextualizes experience within theoretical frameworks, and the universal voice that connects individual experience to broader human concerns. While related to personally-grounded traditions, this study adopts Nash’s Scholarly Personal Narrative framework, which explicitly integrates personal experience, theoretical analysis, and universal insight. This methodology guided every blog entry. What follows are the findings that emerged when those three voices were permitted to speak together across thirty days. The four phases that emerged from this documentation are summarized in Table 1.

Table 1

Four Phases of the Alonetude Retreat

PhaseDaysEmbodied ExperienceTheoretical Framework
1. Arrival and DisorientationDays 1–7Guilt at stillness; body bracing against perceived threat; inability to rest without productive justification; scanning for danger in a safe environment; early photographs of weathered objects and thresholdshow the nervous system responds to safety and threat (Porges, 2011); the body’s instinct to scan for safety; the quiet way nature restores us theory (Kaplan & Kaplan, 1989); liminality (Turner, 1969)
2. Softening and GriefDays 8–18Tears arriving unbidden; dreams returning; body softening; dark emotions emerging; grief for lost years surfacing once the nervous system registered safety; photographs of absence and shadowsDark emotions (Greenspan, 2003); emotional alchemy; embodied trauma (van der Kolk, 2014); ambiguous loss (Boss, 1999); emotional labour (Hochschild, 1983)
3. Clarity and NamingDays 19–25Structural critique emerging from personal experience; naming precarity as a system rather than personal failing; refusing self-blame; photographs of gathering, arrangement, and quiet order; writing with increasing directnessBurnout society (Han, 2015); academic capitalism (Slaughter & Rhoades, 2004); situated knowledges (Haraway, 1988); radical rest as resistance (Hersey, 2022; Lorde, 1988)
4. Integration and DepartureDays 26–31Carrying practice forward; alonetude as portable rather than place-dependent; colour returning to visual practice; goodbye as continuation; photographs of fragments in new context; return home to Harrison Hot SpringsWholehearted living (Brown, 2010); contemplative photography (Karr & Wood, 2011); human rights integration (UDHR; ICESCR); self-determination theory (Ryan & Deci, 2000)

Note. Phases emerged inductively from daily documentation rather than being imposed predetermined. The transitions between phases were gradual rather than discrete, with considerable blurring between adjacent stages. UDHR = Universal Declaration of Human Rights. ICESCR = International Covenant on Economic, Social and Cultural Rights.

Phase One: Arrival and Disorientation (Days 1–7)

The first week was the hardest. Less because anything felt wrong than because nothing was required of me, and I was uncertain how to inhabit that freedom. Nineteen years of precarious academic labour had trained my nervous system to equate stillness with danger. When there was nothing to do, my body interpreted the lack of demand as a threat.

Porges (2011) explains this through the concept of the body’s instinct to scan for safety, the autonomic nervous system’s below-conscious evaluation of environmental safety. In environments characterized by chronic uncertainty, the system defaults to the body’s alert state (the fight-or-flight response) or, when activation is unsustainable, to dorsal vagal shutdown (the freeze response characterized by numbness, disconnection, and the flat affect that can resemble depressive states). After decades of contract labour, where each semester brought the question of whether employment would continue, my body’s instinct to scan for safety had been calibrated to threat. Safety felt unfamiliar. Rest felt suspicious.

Title: Still Here

A worn piece of driftwood resting on dark sand beside a larger log, Loreto beach, January 2026
February 8, 2026

Photo Credit: Amy Tucker, January 2026

Artist Statement

I photographed this piece of driftwood on Day 3, crouching low on the dark sand with the camera held close to the ground. What arrested me was beyond its shape; it was its quality of having endured. The wood has been worked by time, water, and shore into something that no longer resembles what it was, yet it holds together. The grain runs deep. The hollows where it was once punctured by something sharp have been smoothed rather than closed. It is beyond intact. It is beyond broken. It is here.

Within the first phase of the retreat, when my nervous system was still scanning for threat, and the guilt of stillness had yet to release, I was drawn repeatedly to objects shaped by forces outside their choosing and simply, quietly still. This image belongs to the category I came to call “environmental witnesses”: non-human elements that co-document the research by holding qualities the researcher needs to see.

I documented this in early blog entries through language that surprised me with its honesty. I wrote about the guilt that arrived when I sat without producing anything. I photographed weathered objects, worn shoes, abandoned bags, and driftwood arranged by no one, because these objects held the quality of having endured without performance. They had been shaped by time and elements rather than will. They were still here. They were enough.

Victor Turner (1969) describes liminality as the threshold state between what was and what will be, a space characterized by ambiguity, disorientation, and the dissolution of previous identity structures. The first week in Loreto was deeply liminal. I was no longer an instructor (the institution had ensured that), and still becoming whatever I was becoming, suspended between identities in a small town where no one knew my professional history and no one cared.

The shoreline became a metaphor and a method. Where desert met sea, where sand became water, where solid ground gave way to something that moved, these edges held the quality of my own transition. I began to call this space the third shore: beyond loneliness, beyond solitude, but the liminal territory between them where the labour of transformation occurs. The term third shore refers to the liminal space between loneliness and solitude, a conceptual terrain where imposed isolation can be transformed into chosen presence. In this thesis, the third shore functions both as a metaphor and as a methodological site, a place where personal narrative, visual practice, and structural analysis meet.

Title: The Third Shore

The shoreline of the Sea of Cortez at Loreto, Baja California Sur, with dark sand meeting pale water, pelicans feeding in the middle distance, and the mountains of Baja dissolving in morning light, January 2026
January 23, 2026

Photo Credit: Amy Tucker, January 2026

Artist Statement

This is the photograph I had yet to know I was waiting to take. I was standing at the edge of the water on an early morning, shoes off, the dark volcanic sand cold beneath my feet, when the pelicans began to feed. They gathered in the middle distance, working the water together without urgency, the mountains of the far shore dissolving into haze above them. A single bird moved through the frame above, unhurried. I raised the camera and waited. The wave broke at my feet as the shutter opened.

What is visible here is the thing the thesis is about: the exact line where desert sand becomes water, where standing ground gives way to something that moves, where one condition ends, and another begins. This is the third shore. Victor Turner (1969) describes liminality as the space between what was and what will be. Here it is, in salt water and morning light.

The tide comes in regardless of whether you are productive or paralyzed. These are observations the natural environment offered freely to anyone willing to stand still long enough to receive them.

Phase Two: Softening and Grief (Days 8–18)

Around the eighth day, something shifted. My body, having spent a week registering the absence of institutional threat, began to soften. And with the softening came grief.

Title: The Door That Has Outlasted Its Institution

The stone facade and carved wooden doorway of the Misión San Francisco Javier de Viggé-Biaundó near Loreto, Baja California Sur, with rough rubble walls on the left and ornate stonework framing the entrance, desert mountains rising behind, January 2026
January 2026

Photo Credit: Amy Tucker, January 2026

Artist Statement

The Misión San Francisco Javier de Viggé-Biaundó was founded in 1699 and completed in 1758. It has been here for longer than Canada has existed as a country. Longer than the institution that employed me for twenty-five years. Longer than any of the administrative structures that decided, semester by semester, whether I would continue.

I taxied forty-five minutes into the Sierra de la Giganta on a dirt road to find it, and when I arrived, what arrested me was the quality of endurance rather than the grandeur. The rough rubble wall on the left has been losing its facing for centuries and is still standing. The carved stone around the doorway is still precise. The wood of the door is warm and worn and wholly present. The small figure in red at the left edge of the frame was a child crossing the plaza, unaware that it was being documented. She will carry this morning differently than memory allows.

The building will still be here when her grandchildren bring their grandchildren. This is what endurance without performance looks like at an architectural scale: beyond intact, beyond broken, simply here. Victor Turner (1969) describes the liminal state as the dissolution of previous identity structures. Standing in front of this door, in the second week of the retreat, I understood that what was dissolving in me had never been as solid as it seemed. The institution had offered the appearance of structure. This building offered the thing itself.

This was a demanding process. On Day 17, I was watching pelicans fish, and suddenly I was weeping, the kind of crying that starts somewhere below the ribs and moves through the whole body, the kind that makes you sit down because standing requires more structure than you currently have.

Miriam Greenspan (2003) names grief, fear, and despair as dark emotions, beyond negative: purposeful, carrying information the body needs us to know. She writes that the dark emotions become toxic through our strategies of avoiding rather than through their presence: suppressing, denying, transcending prematurely, and escaping. The emotions themselves are neutral. Essential. Diagnostic. Greenspan offers a process she calls emotional alchemy, moving through seven steps: intention, affirmation, bodily sensation, contextualization, non-action, action, and transformation.

What I was grieving was complex. I was grieving the lost years, the decades spent overworking, taking on multiple contracts because I feared having none, trying to be everything for everyone while the institution offered nothing in return but the implication that I should be grateful for the opportunity. I was grieving what Arlie Hochschild (1983) calls the accumulated toll of emotional labour, the invisible work of managing feelings, performing wellness, maintaining the appearance of someone who was coping when coping had become its own full-time occupation.

Finalmente segura para sentir. Finally safe enough to feel.

Title: Presence Registered

Shadow of a woman with a camera falling across shell-strewn sand at Loreto, January 2026
January 29, 2026

Photo Credit: Amy Tucker, January 2026

Artist Statement

I have never been comfortable with self-portraiture. The face in front of a camera performs; the shadow performs nothing. It is simply the mark of having been present: a body in light, documented through the absence of appearance rather than appearance itself.

This photograph was taken sometime in the second week, when the grief that had been building in the body began to surface. The sand is scattered with broken shells and small stones, the kind of shore that rewards slow attention. My shadow extends ahead of me, the camera visible in the raised right hand, the sandals improbably blue against the monochrome of the rest. What I notice now, looking at it, is how long the shadow is. How much space does it take? How completely it is just here.

Within the research, I came to call this category shadow studies: self-documentation through mark rather than performance, presence registered without self-surveillance. This is what Donna Haraway (1988) means by situated knowledge: seeing from somewhere specific, from a body that casts a shadow on the ground.

The photographs from this phase documented absence: shadows on sand, empty doorways, objects at rest. The camera became what Ariella Azoulay (2008) describes as a civil instrument, one that witnesses conditions rather than producing beauty. Each image was a quiet refusal to look away from what had been endured.

Phase Three: Clarity and Naming (Days 19–25)

Once the grief had been met rather than avoided, something unexpected happened: clarity arrived. It was the clarity of better questions rather than settled answers. The question shifted from the one I had been asking myself for years, What is wrong with me?, to the one that structural analysis demands: What conditions produced this outcome, and who else is affected?

This shift is the central methodological commitment of the thesis. It is the inversion that transforms personal narrative into structural critique, that moves individual suffering from the domain of pathology to the domain of politics. Byung-Chul Han (2015) provides the theoretical architecture for this inversion through his concept of the burnout society, a society in which the imperative to achieve replaces external discipline with internal compulsion, producing subjects who exploit themselves more effectively than any external authority could. The achievement-subject, Han argues, is simultaneously a perpetrator and a victim, an exploiter and an exploited. The violence is auto-aggressive.

Guy Standing’s (2011) concept of the precariat, a new social class defined by chronic insecurity, lack of occupational identity, and truncated access to rights, gave me language for my structural position within the academy. I was far more than a contract worker; I was a member of a structurally produced class whose insecurity was functional rather than incidental, serving the institution’s need for flexible, disposable, and infinitely replaceable labour. Sheila Slaughter and Gary Rhoades (2004) name this system academic capitalism, the regime in which universities operate as market actors, treating knowledge and labour as commodities to be extracted rather than cultivated.

The blog entries from this phase became more direct. I named what had happened to me as structural harm rather than personal failure. I examined Erving Goffman’s (1959) distinction between frontstage performance and backstage reality, recognizing how decades of performing competence and wellness had depleted the very resources those performances were designed to protect. I wrote about the invisibility of precarious academic work: the grading done at midnight, the courses prepared without compensation, the emotional labour of caring for students while the institution extended care to no one, least of all those doing the work.

Phase Four: Integration and Departure (Days 26–31)

The final phase was characterized by integration rather than resolution. Alonetude, I understood now, was a practice rather than a destination, portable, repeatable, available anywhere one was willing to turn toward oneself with intention and without judgment. On Day 27, I photographed in colour, departing from the black-and-white aesthetic that had defined the retreat. Colour arrived when I was ready to receive it. A flash of orange fruit. A red Volkswagen. Bougainvillea against a desert wall. Andy Karr and Michael Wood (2011) describe this in their work on contemplative photography, the practice of seeing with fresh perception, of receiving visual experience as it presents itself rather than imposing narrative upon it.

Title: The Colour That Arrived

A single red brick fragment resting on dry earth and gravel, Loreto, January 2026
January 29, 2026

Photo Credit: Amy Tucker, January 2026

Artist Statement

On Day 27, I departed from the black-and-white aesthetic that had defined the retreat and began photographing in colour. The first colour image that mattered lay beyond the spectacular. It was this: a single fragment of red brick lying on dry earth, surrounded by pale gravel and small stones. The red is sudden and warm, the first warmth the visual record had admitted in nearly four weeks. I arrived at it beyond conscious choosing. I crouched near it because it was there, because the red registered in my body before my mind had decided anything.

Andy Karr and Michael Wood (2011) describe contemplative photography as the practice of receiving visual experience as it presents itself rather than imposing narrative upon it. The brick received me before I received it. It holds a beauty beyond the conventional. It is damaged, irregular, and slightly coffin-shaped if you are in a particular mood. But it is wholly, unapologetically red, and on Day 27, that colour was what the nervous system needed to confirm: something is returning. Something is warm.

On Day 28, I wrote about the quiet permission of invisibility, the discovery that being unseen in a small Mexican town, where no one knew my professional history, had allowed me to encounter myself without the armour of institutional identity. On Day 29, the shore began to speak: I photographed bricks embedded in sand, feathers after ascent, footprints being erased by tide, bone fragments that might be smiling. These images were the healing itself, made visible through a methodology that treats art-making as a form of knowledge production (Leavy, 2015).

Title: Without Concern for Your Curriculum Vitae

A large flock of brown pelicans diving and feeding in the Sea of Cortez at Loreto, Baja California Sur, wings spread and water churning, with palm trees and mountains on the far shore, January 2026
January 23, 2026

Photo Credit: Amy Tucker, January 2026

Artist Statement

I had been watching them for weeks before I captured them like this. Every morning they were there, working the water in the early light, and I photographed them from the shore at a distance that preserved their indifference. They never posed. They were never performing. They were simply doing what they do: diving, surfacing, diving again, completely absorbed in the fact of their own hunger and the abundance of the sea.

What I kept returning to notice, across thirty days, was that their commitment to the work of being pelicans was absolute. They held no pause to evaluate whether today’s dive was as good as yesterday’s. They held no need to scan the shore for approval. On the day I photographed this, a group of perhaps 60 birds was working a school of fish near the surface, and the resulting image is almost abstract: wings and water and the blur of concentrated, purposeful movement.

Andy Karr and Michael Wood (2011) describe contemplative photography as the practice of receiving visual experience before interpreting it. What I received here, and what I return to when I need reminding, is this: the natural world requires no audience. It holds no evaluation. The pelicans dive without concern for your curriculum vitae, and in thirty days of watching them, I understood that this was the most useful thing I had ever been taught.

On Day 31, I said goodbye to Baja and returned to Canada. On February 1, I arrived at Harrison Hot Springs, British Columbia, and practised alonetude in community, carrying the discipline of chosen presence into shared space. The practice had become what Brené Brown (2010) might recognize as an expression of wholehearted living: the willingness to be imperfect, to set boundaries, and to let go of who you thought you were supposed to be in order to become who you are. The evolution of the nervous system response across the retreat is documented in Table 2.

Title: Still Here (Harrison)

A large, darkened driftwood stump silhouetted at the edge of Harrison Lake, British Columbia, its gnarled roots reaching the water, with forested mountains reflected in the still lake surface and a clear blue sky, February 2026
February 8, 2026

Photo Credit: Amy Tucker, February 2026

Artist Statement

On February 1, the day after leaving Loreto, I stayed at Harrison Hot Springs, British Columbia, to practise alonetude in community while attending labour school. I was walking the lakeshore when this stump stopped me. It is massive, darkened by water and time, its root system exposed and reaching, its silhouette against the still lake holding the same quality I had been photographing for thirty days on the Sea of Cortez: endurance without performance. It is beyond intact. It is beyond broken. It is here.

I understood, crouching by the water to photograph it, that this was the thesis proving itself. The practice had travelled. The attention I had trained in Loreto, the capacity to be stopped by worn things, to find in darkened wood and still water the quality of having-been-through-something-and-remained, had come with me. This is the companion image to Still Here, made on the dark volcanic sand in Loreto on Day 3. Those two photographs, one from a Mexican sea and one from a British Columbia lake, are the same photograph. Same quality of attention. Same subject. Different shore.

Alonetude, I wrote on the final day of the retreat, requires no thirty days or a retreat in Mexico. It requires intentionality, presence, and the willingness to turn toward oneself without judgment. This stump is the evidence.

Table 2

Nervous System Transitions Across the Retreat

Nervous System StateRetreat PhaseEmbodied IndicatorsPhotographic Register
Involuntary weeping, fatigue, deep sleep, appetite changes, and dreams returningPhase 1: ArrivalBraced shoulders, clenched jaw, fractured sleep, guilt at rest, scanningWeathered objects, harsh contrast, thresholds, fixed frame perspectives
Dorsal vagal (freeze/grief)Phase 2: SofteningInvoluntary weeping, fatigue, deep sleep, appetite changes, and dreams returningShadows, absences, empty spaces, under-exposure, blur, ground-level
Emerging genuine safety (safety/connection)Phase 3: ClaritySteady breathing, released jaw, clearer thinking, capacity for structural analysisGathered objects, arrangements, quiet order, clearer compositions
genuine safety (social engagement)Phase 4: IntegrationSoftened expression, laughter returning, capacity for colour, readiness for communityColour photography, found colour, playful compositions, environmental witnesses

Note. nervous system states are described as documented through Scholarly Personal Narrative methodology, based on Porges (2011). States are dynamic and overlapping rather than discrete categories. Photographic register describes the predominant visual qualities of images produced during each phase, functioning as embodied data within arts-based research methodology (Leavy, 2015).

Part III: Reflections, The Researcher as Subject

On Methodology as Medicine

Healing was beyond what I expected the methodology to do. I expected it to document. But Scholarly Personal Narrative does something that more detached methods cannot: it requires you to stay in your own experience rather than hovering above it with analytical distance. Nash (2004) insists that the researcher acknowledge their positioning rather than hiding behind passive constructions that imply objectivity. This insistence, stay in your body, write from where you are, resist pretending you are nowhere, turned out to be therapeutic in the deepest sense.

Donna Haraway (1988) describes this as the refusal of what she calls the god trick, the pretence of seeing everything from nowhere, the disembodied gaze that claims universality by erasing its own location. Haraway argues for situated knowledges: partial, accountable, embodied perspectives that gain their authority from within the partial rather than from the claim to see everything, the honesty of acknowledging what they see from where they stand. My thirty days by the sea provided knowledge in its purest form. I could only see from the shore I stood on. And that was enough.

On What Arrived Without Being Planned

None of the most important findings were anticipated. Weeping on Day 17 while watching pelicans arrive beyond planning. Splashes of colour on Day 27 arrived in greater numbers than planned. The question inverts itself from personal pathology to structural critique. These emergences are precisely what qualitative methodology is designed to honour, the recognition that the most significant data often arrives unbidden, in the spaces between intention and attention. Following the retreat, the daily blog entries were reviewed as a chronological research journal and interpreted thematically, with patterns and phases identified through repeated reading of the complete record.

Patricia Leavy (2015) argues that arts-based research generates knowledge unavailable through conventional methods precisely because artistic processes engage perception, intuition, and embodied knowing alongside analytical reasoning. The camera reached beyond mere recording of what I saw; it revealed what I was yet to say in words. The blog reached beyond documenting what happened; it produced understanding in the act of writing. Method became medicine because the method required presence, and presence is what trauma steals.

Where I Stand and What I Carry

I must name what is true about my position. I am a white, cisgender, settler woman who had enough resources to spend thirty days in Mexico healing from institutional harm. Indigenous peoples on the very land where I live, the Secwépemc Territory, may lack such mobility options while navigating compounded harms of colonial dispossession, environmental racism, and institutional exclusion. Precariously positioned Mexicans in Loreto may serve tourists like me while carrying their own invisible burdens.

Linda Tuhiwai Smith (2012) warns against research practices that take from communities without reciprocity. While this personally-grounded work focuses on my own experience, it must contribute to broader conversations about labour rights, institutional accountability, and collective healing rather than centring individual self-improvement divorced from structural change. My solitude was chosen. Many people’s isolation is imposed. The distinction matters enormously, and this thesis refuses to collapse them into a single category. Alonetude names the labour of transforming imposed aloneness into chosen presence, but the fact that such labour is necessary is itself an indictment of the structures that produced the imposition.

This research reflects the perspective of a single researcher and is shaped by particular social, geographic, and institutional conditions that remain unevenly shared. These constraints are part of the situated knowledge this work produces rather than limitations that undermine it, but they should be held in view as readers consider how these findings might speak to experiences beyond this one.

Title: Situated at the Edge

Long shadow of the photographer stretching toward still water reflecting sky and reeds, January 2026
February 8, 2026

Photo Credit: Amy Tucker, January 2026

Artist Statement

It was made at Harrison Hot Springs, British Columbia, on February 1, the day after I left the Sea of Cortez, when I stopped to practise alonetude in community before returning home to Kamloops.

The water is almost still, reflecting the pale sky and the sedge grass at the far bank. My shadow extends ahead of me, long and thin, reaching toward the reflection of the world. I include it here, in this position in this story section, because it offers what this section requires: the image of a researcher at the edge of her own territory, neither inside nor outside the frame, present without being centred.

Donna Haraway (1988) calls this situated knowledge: the understanding that all knowing comes from somewhere, from a body standing in a specific place, casting a shadow in a particular direction. This shadow points outward, toward water, toward sky, toward the reflected world. It persists within the image. It is the image.

Part IV: A Human Rights Reckoning

From Personal Pathology to Structural Critique

The most important finding of this thesis reaches beyond solitude. It is about the inversion, the moment when the question shifts from “What is wrong with me?” to “What conditions produced this outcome, and who else is affected?”

This inversion is the methodological heart of human rights inquiry. Human rights frameworks ask far more than for individuals to heal themselves from structural violence. They ask structures to account for the harm they produce. When a worker collapses from exhaustion, the human rights question reaches beyond whether they should have practised better self-care but whether the conditions of their employment violated their fundamental rights to health, rest, and dignified labour.

The Universal Declaration of Human Rights (UDHR; United Nations, 1948) establishes in Article 1 that all human beings are born free and equal in dignity. Article 23 affirms the right to just and favourable conditions of work. Article 24 establishes the right to rest and leisure, including reasonable limitation of working hours. Article 25 guarantees the right to a standard of living adequate for health and well-being.

The International Covenant on Economic, Social and Cultural Rights (ICESCR; United Nations, 1966) operationalizes these declarations through binding obligations. Article 7 requires just and favourable conditions of work, including safe and healthy working conditions and reasonable limitation of working hours. Article 9 establishes the right to social security. Article 12 recognizes the right of everyone to the enjoyment of the highest attainable standard of physical and mental health.

My experience, nineteen years of precarious academic employment culminating in occupational burnout, depression, and institutional termination, is far more than a personal narrative. Read through the lens of international human rights law, it may constitute a pattern consistent with potential violations of labour and health rights, requiring structural remedy. Table 3 maps these conditions against the relevant international human rights instruments.

Table 3

Human Rights Violations in Precarious Academic Labour

Right ViolatedLegal SourceHow ViolatedEvidence from Retreat
Chronic stress, burnout, and depression are produced by insecure employment; occupational trauma unrecognized as workplace injuryICESCR Article 12; WHO ConstitutionBody bracing documented in Phase 1; weeping in Phase 2, indicating stored body-based trauma; depression worsening, requiring medication adjustmentBody bracing documented in Phase 1; weeping in Phase 2 indicating stored body-based trauma; depression worsening requiring medication adjustment
Body bracing documented in Phase 1; weeping in Phase 2, indicating stored body-based trauma; depression worsening, requiring medication adjustmentUDHR Article 24; ICESCR Article 7Constant availability expected; rest experienced as guilt; boundaries punished through non-renewal of contractsGuilt at stillness in Phase 1; inability to rest without productive justification; seventeen days required before the nervous system registered safety
Right to decent workICESCR Article 7; ILO Decent Work AgendaStructural critique emerging in Phase 3; naming precarity as system failure; recognizing that gratitude was demanded in exchange for exploitationStructural critique emerging in Phase 3; naming precarity as system failure; recognizing that gratitude was demanded in exchange for exploitation
Right to dignityUDHR Article 1; ICCPR PreambleInstitutional disposability; treatment as an extractable resource; termination after decades of servicePhase 4 integration: refusing to internalize disposability as personal failure; reclaiming worth beyond institutional validation
Right to social securityICESCR Article 9; UDHR Article 22Institutional disposability; treatment as an extractable resource; termination after decades of serviceContract labour excludes access to employment insurance, a stable pension, benefits, and structural vulnerability by design

Note. ICESCR = International Covenant on Economic, Social and Cultural Rights (United Nations, 1966). UDHR = Universal Declaration of Human Rights (United Nations, 1948). ICCPR = International Covenant on Civil and Political Rights (United Nations, 1966). ILO = International Labour Organization. WHO = World Health Organization. These frameworks establish that the conditions described in this thesis constitute potential human rights violations requiring structural remedies rather than individual coping strategies.

The Structural Inversion

The following table presents the central inversion of this thesis, the reframing that occurs when individual experience is read through structural analysis rather than personal pathology.

Table 4

The Structural Inversion: From Personal Pathology to Systemic Analysis

“She just needs to be more resilient.”Structural Reframing (Human Rights Analysis)
“She needed therapy for her depression.”The workload was structurally unsustainable; burnout is an institutional outcome rather than a personal failure (Han, 2015)
“She should have set better boundaries.”Boundaries are punished in precarious employment through non-renewal; the demand for boundarylessness is structural violence (Standing, 2011)
“She needed therapy for her depression”The depression was occupationally produced; the remedy is structural change alongside individual treatment (van der Kolk, 2014)
“She chose to go on retreat, that is self-care”The retreat was necessitated by institutional harm; rest should exist beyond requiring private funding and personal crisis to access (ICESCR Article 7)
“She just needs to be more resilient”Resilience narratives individualize structural problems; the question is why individuals must endure rather than whether they should have to (Berlant, 2011)
“She should be grateful for the opportunities she had”Gratitude cannot be demanded in exchange for rights violations; exploitation holds no benignity through the expectation of thankfulness (Hochschild, 1983)

Note. This table illustrates the central analytical move of the thesis: reframing individual experience within structural critique. Each dominant framing locates the problem within the individual; each structural reframing locates the problem within institutional systems and policy failures. The inversion holds personal agency intact but refuses to let structural accountability be displaced onto individual coping.

Part V: Key Learnings

What This Research Taught Me

Table 5

Ten Key Learnings from the Alonetude Retreat

LearningExplanation and Theoretical Grounding
1. The body is an archive.Van der Kolk (2014) argues that trauma is stored in the body, in braced muscles, fractured sleep, and chronic activation. This thesis confirms that the body is also an archive of institutional harm, holding the cumulative weight of structural conditions that official records leave unnamed. My body had registered what had happened to me long before my mind could articulate it.
2. Rest is a human right rather than a reward.Article 24 of the Universal Declaration of Human Rights (United Nations, 1948) establishes the right to rest and leisure, unconditionally, regardless of productivity, performance, or institutional approval. When rest requires private funding and personal crisis to access, the system has failed.
3. Grief is diagnostic.Greenspan (2003) teaches that dark emotions carry information. The grief that surfaced on Day 17 was evidence of truth rather than weakness; it was the body’s truthful account of what had been lost. Grief for the years spent overworking, for the relationships deferred, for the creative life deferred, this grief was evidence of harm, as legitimate as any clinical assessment.
4. The question must invert.The most significant shift in the retreat was the inversion from “What is wrong with me?” to “What conditions produced this?” This is the essential move of human rights inquiry: locating the problem in structures rather than individuals, in policy rather than personality.
5. Alonetude is labour.Choosing to be alone, staying with discomfort, transforming imposed isolation into generative solitude, this is work. It requires intentionality, courage, and the material conditions (time, space, safety) that are themselves structurally distributed. Alonetude is active identity work rather than passive withdrawal.
6. Art makes knowledge that words cannot.Patricia Leavy (2015) argues that arts-based research generates knowledge unavailable through conventional methods because artistic processes engage perception, intuition, and embodied knowing alongside analytical reasoning. The photographs in this thesis said things the written entries could only approach. Contemplative photography, painting, and found-object work produced findings that propositional language alone could carry only partially. Art is a research method, and its data is real.
7. Healing is beyond the individual’s responsibility alone.When harm is structurally produced, healing must be structurally supported. Privatizing recovery, expecting individuals to heal themselves from institutional violence using their own resources, is itself a form of structural violence. The retreat I undertook was necessitated by institutional harm and funded through personal savings. That arrangement should be understood as a symptom of structural failure, and as an argument for collective institutional remedies.
8. Seeing slowly is a methodology.Contemplative photography (Karr & Wood, 2011) and Photovoice (Wang & Burris, 1997) treat the act of looking as a form of inquiry. Slowing down visually, crouching in the sand, waiting for the light to shift, spending twenty minutes on a single feather, proved to be the same practice as healing. Both resist the urgency to make meaning before the experience has been fully received. The camera trained the researcher to be present before being analytical.
9. The personal is methodological.Scholarly Personal Narrative methodology (Nash, 2004) insists that personal experience, properly theorized, constitutes legitimate scholarly data. This thesis demonstrates that the I in research carries analytical weight. The voice that says I was exhausted, I was laid off due to unstable enrolments, I went to the sea, is also the voice that reads Porges, cites Standing, and analyzes human rights law. The personal is the methodology, and the methodology is the scholarship.
10. The practice is portable.Alonetude requires intentionality, presence, and the willingness to turn toward oneself without judgment. It can happen in five minutes on a park bench or in a quiet room after the children have gone to school. Thirty days in Mexico made the practice visible; the practice itself travels wherever the practitioner travels. It asks only for attention.

Note. These learnings emerged inductively from thirty days of daily documentation using Scholarly Personal Narrative methodology (Nash, 2004), contemplative photography, and interdisciplinary theoretical engagement. They represent the primary findings of this creative thesis.

What Alonetude Is and Is Beyond

Table 6

Alonetude: Clarifying the Concept

Alonetude ISAlonetude IS BEYOND
Both body-felt practice and a critical analytic lensLoneliness rebranded with a gentler name
The labour of transforming imposed aloneness into chosen presencePassive withdrawal or avoidance of difficulty
Both body-felt practice and a critical analytic lensBoth body-felt practice and a critical analytic lens
Situated within institutional and political architectures that produce separationAn individual coping strategy that excuses institutions from accountability
Accessible through four typologies: restorative, creative, political, and ceremonialA single, fixed practice with prescribed steps
Portable, adaptable, available in five minutes or thirty daysRequiring a retreat, financial resources, or geographic relocation
A rights-bearing practice grounded in the right to rest, health, and dignityA luxury available only to those with privilege

Note. Alonetude is the original theoretical framework introduced by this thesis. The four typologies, restorative, creative, political, and ceremonial, are described in the thesis and are complementary rather than mutually exclusive.

Part VI: Artist Statement

Seeing Slowly: Photography and Visual Art as Research Methodology

Ariella Azoulay (2008) argues that the camera is a civil apparatus and a contract rather than merely a mechanical device for producing images, a civil instrument for negotiating relations between people and their conditions.

In this study, photographs and artworks function as primary research rather than illustrative data within an arts-based methodology. This thesis treats visual art, photography, drawing, watercolour, painted stones, mixed-media assemblage, and found-object work as a form of scholarly argument rather than an illustration, but as a primary mode of knowledge production. Every image in The Third Shore blog is research data. Every painted stone is a finding. Every photograph of a shadow on sand, a worn shoe, or an empty doorway constitutes evidence within an arts-based research methodology that recognizes what words alone cannot capture. The visual materials were organized chronologically alongside the daily written entries and revisited during the analysis stage to identify recurring motifs, transitions, and emergent themes.

On the Photographic Practice

The photographic practice developed during the retreat is characterized by deliberate imperfection. I shoot primarily in black and white, employing high- and low-contrast, minimalist compositions, intentional under- and over-exposure, blur, grain, fixed-frame perspectives, and ground-level handheld techniques. These are methodological choices rather than aesthetic failures. Each technical decision serves a purpose within the research inquiry.

High contrast serves the thesis because the experience being documented is one of extremes, the sharp edges between institutional performance and private collapse, between exhaustion and emerging rest. Blur serves the thesis because some experiences resist clarity, and the attempt to render everything in sharp focus is itself a form of violence against the imprecise, provisional quality of healing. Ground-level perspectives serve the thesis because the researcher’s position during much of the retreat was literally low, sitting on rocks, crouching by the waterline, lying on sand, and the camera should document the body’s actual position rather than the elevated position of an observer who stands above experience.

Sarah Pink (2013) argues that visual research methods must attend to the sensory, embodied dimensions of experience rather than treating images as mere records of what was seen. My photography practices what Pink calls sensory ethnography, an approach that attends to how seeing, hearing, touching, and moving create knowledge. The camera is an extension of the body rather than separate from itn of the body’s attention, pointing where the nervous system directs it, pausing where the breath pauses, holding still when stillness arrives.

On Subject Matter

I arrived in Loreto without a shot list. I arrived with a camera and a body that had forgotten how to rest, and the subjects found me before I found them. What I photographed across thirty days was received rather than chosen, the way a driftwood piece arrests you mid-stride, the way a shadow falling across wet sand demands that you stop and look. This responsiveness is entirely intentional. It is the point.

The subjects that recurred throughout the retreat shared a quality I came to recognize as endurance without performance. Worn objects. Threshold spaces. Things shaped by forces outside their choosing that were, nonetheless, still here. A piece of driftwood smoothed by decades of tide and sand. An abandoned structure behind a rusted fence, its walls intact, its institution gone. A spent half-citrus on dark stones, its geometry still legible even after everything extractable had been taken. I was drawn to these subjects precisely because of their ordinariness. They were doing nothing for the camera. They were simply present. And presence, I was learning, was the practice.

There is a particular challenge in photographing stillness when you have spent your adult life in motion. The academic precariat persists. It holds no luxury of stopping. You teach while grieving, grade while ill, prepare courses that may never be offered again, and show enthusiasm for institutional initiatives unlikely to survive the next budget cycle. The body becomes accustomed to perpetual forward movement, to the posture of someone who is always almost catching up. To stop and look at a stone, to crouch in the sand and wait for the light to shift, to spend twenty minutes photographing the way a feather rests against gravel; this is an act of resistance that the body resists before the mind can name it. The first week, I photographed quickly. I was efficient. I had somewhere to be, though I had nowhere to be. By the second week, I was beginning to slow. By the third, I understood that the slowing was the subject.

Wang and Burris (1997) developed Photovoice as a participatory research methodology in which people use cameras to document their lived realities and bring those realities into conversation with broader social analysis. While this thesis is personally-grounded rather than participatory in the traditional sense, it draws on Photovoice’s central commitment: that the person who experiences a condition is also the person best positioned to document it. My camera shared my experience rather than translating it for an outside audience. It participated in the experience itself, shaping what I noticed, directing where I crouched and waited, insisting that I remain in contact with the physical world when the easier option was retreat into abstraction.

The non-human world proved to be an unexpectedly generous research collaborator. The tide comes in regardless of whether you are productive or paralyzed; these were observations the natural environment offered freely to anyone willing to sit still long enough to receive them. Rachel and Stephen Kaplan’s (1989) concept of the gentle pull of the natural world (the capacity of natural environments to hold attention gently, without cognitive demand, allowing depleted attentional resources to replenish) describes precisely what I experienced when I stopped trying to photograph something significant and simply began attending to what was there: the way light moved across the Sea of Cortez at six in the morning, the arrangement of stones someone had made and left without signature, the blue of a sea-tumbled glass fragment resting in pale gravel as though it had always been there and had never needed to be anywhere else.

I want to say something honest about self-portraiture, because it is the category that surprised me most. I have always found my own face an uncomfortable subject. The face performs. It knows it is being watched and arranges itself accordingly. But the shadow performs nothing. A shadow is simply the mark of having been present: a body in light, documented through the absence rather than through the appearance of light. When I began photographing my shadow on the sand, I understood that this was the closest I could come to honest self-documentation, the researcher present in the frame without the researcher having to manage the frame. Donna Haraway (1988) argues that all knowledge is situated, that every act of seeing comes from somewhere, from a body standing in a specific place, casting a shadow in a particular direction. The shadow studies that emerged throughout the retreat arose from intentional positioning rather than camera shyness. They were a methodological commitment: I am here, I am looking, and here is the proof of my location.

By the final days, when colour arrived and the visual practice began to admit warmth, the subject matter had shifted alongside my relationship to it. The ordinary remained ordinary. The shore was still the shore. But I was looking at it differently: more slowly, more steadily, with less urgency to make it mean something before I had finished seeing it. This is what ver lentamente, seeing slowly, requires: more sustained attention to the subjects already present rather than more interesting subjects. It is, I believe, both the most humble and the most demanding photographic practice I know. And it turns out to be the same practice as healing. You cannot rush either. You can only remain.

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Kaplan, R., & Kaplan, S. (1989). The experience of nature: A psychological perspective. Cambridge University Press.

Karr, A., & Wood, M. (2011). The practice of contemplative photography: Seeing the world with fresh eyes. Shambhala Publications.

Leavy, P. (2015). Method meets art: Arts-based research practice (2nd ed.). Guilford Press.

Lorde, A. (1988). A burst of light: Essays. Firebrand Books.

Nash, R. J. (2004). Liberating scholarly writing: The power of personal narrative. Teachers College Press.

Pink, S. (2013). Doing visual ethnography (3rd ed.). SAGE Publications.

Porges, S. W. (2011). The Polyvagal Theory: Neurophysiological foundations of emotions, attachment, communication, and finding our own calm. W. W. Norton.

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Slaughter, S., & Rhoades, G. (2004). Academic capitalism and the new economy: Markets, state, and higher education. Johns Hopkins University Press.

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ACADEMIC LENS

As the concluding creative thesis, this post performs the synthesis that Moustakas (1961) identifies as the final phase of heuristic inquiry: gathering the month’s accumulated understanding into a statement of what has been found, made, and carried forward. Audre Lorde’s (1988) argument that self-care is political resistance rather than private luxury provides the overarching ethical frame: the thirty days of rest, attention, and creative inquiry constitute an act of social justice as well as personal recovery. The land acknowledgment situates the research within Indigenous sovereignty, a gesture that Anzaldúa’s (1987) borderlands theory contextualizes: the Third Shore is a particular territory far from neutral, whose deep history precedes and exceeds the researcher’s presence. Nash’s (2004) Scholarly Personal Narrative framework asks that the researcher account for what was found alongside how the inquiry changed the researcher herself, which is what this synthesis undertakes. Van der Kolk (2014), Menakem (2017), and Levine (2010) together constitute the somatic theoretical ground from which the research conclusions are drawn: that the body is a legitimate site of knowledge, that healing is possible, and that the right to alonetude is both a personal need and a structural claim.

Lonely in a Crowd: On Presence, Distance, and the Quiet Work of Connection

Reading Time: 10 minutes
A Note on Returning

I have been home in Canada for several weeks now, and I find myself sitting with something I had failed to anticipate. I have solitude here. I have hours alone, mornings to myself, quiet rooms and familiar landscapes. And yet alonetude, that particular quality of expansive, inwardly accompanied presence I discovered beside the Sea of Cortez, remains elusive. It arrives in glimpses and then recedes. I am learning that alonetude resists being summoned on demand. Solitude is a condition I can create by closing a door. Being alone is simply a circumstance. Alonetude, I am beginning to understand, is a state that requires something more interior and more patient, a quality of willingness I am still practising. La búsqueda continúa. The search continues. What the retreat gave me was proof that alonetude is real and that I am capable of it. What returning has given me is the harder and perhaps more essential lesson: that cultivating it within ordinary life, amid the noise and obligation and accumulated history of home, is the actual work. I am at the beginning of that work. I am trying to show up for it with honesty rather than expectation.

Keywords: alonetude, connection, loneliness, presence, distance, solitude, belonging, returning home, embodied knowing, scholarly personal narrative



The Paradox of the Crowded Room

There is a phrase I keep returning to, one of those expressions so familiar it risks losing its meaning through repetition: lonely in a crowd. I want to slow it down. I want to sit with what it actually describes, because I think it points toward something true and underexamined about the texture of modern life.

We have all experienced it, or something close to it. A room full of conversation. Laughter moves around the edges of a gathering. Colleagues, friends, people we have known for years, and yet, beneath all of that, a quiet distance from everything happening. Something essential feels just out of reach. The room is full. The self feels invisible.

I have been in those rooms. I have smiled at the right moments, contributed to conversations, and driven home afterward, carrying a strange, wordless weight. For a long time, I thought the feeling was a personal failing, evidence of some lack in me. It took considerably longer to understand that what I was experiencing was structural, something the research has since confirmed in ways that are both clarifying and sobering.

What the Data Says

The Harvard Study of Adult Development, initiated in 1938 and now one of the longest-running investigations of human well-being in the social sciences, has followed participants across more than eight decades, gathering medical records, psychological assessments, and life histories to ask a single, deceptively simple question: what makes a human life go well? The study began as two parallel projects: the Grant Study, which followed 268 Harvard undergraduates, and the Glueck Study, which tracked 456 boys from disadvantaged Boston neighbourhoods. The two cohorts were later studied together under the directorship of psychiatrist George Vaillant (Vaillant, 2012). Today, under the direction of Robert Waldinger at Harvard Medical School and Massachusetts General Hospital, the study continues into its second generation (Waldinger & Schulz, 2023).

The answer the data returned was deeply relational. The quality of our close relationships is among the strongest predictors of happiness, health, and longevity (Waldinger & Schulz, 2023). Wealth, career achievement, and social status, the things our culture tends to reward most visibly, offer far less protection over a lifetime than the presence of people who genuinely see us. Because this study tracked the same individuals over decades rather than capturing a single moment, its findings carry particular weight and authority. Waldinger (2015), in his widely viewed TED Talk summarizing the study’s central lessons, described the critical distinction the data kept returning to: it is the quality of our relationships, and how deeply we allow ourselves to be seen within them, rather than their sheer number, that shapes our health and happiness over time.

Title: Painting Memory: Loreto Bay at Dusk

A memory painting of Loreto Bay at dusk, showing the Sea of Cortez in teal and green beneath a layered sky of gold, blue, and rust, with dark volcanic mountains in the background and terracotta shoreline in the foreground.
Artist Statement I painted this from memory rather than from a photograph, and I think that distinction matters. Memory renders a scene emotionally rather than accurately. This bay, this light, this particular quality of sky as the afternoon turned toward evening, I carried them inside me long before I thought to put them on paper. The painting came later, when I was trying to locate something I had felt in Loreto that I had struggled to name in words. The sea here is the wrong colour, and that is exactly the point. The water I remember was green and teal and almost luminous at certain hours, as though the light were coming from underneath rather than above. Painting it forced me to ask: what do I actually remember? What has feeling kept, and what has it transformed? 

The mountains in the background are darker than they appeared in daylight, more brooding. In memory, they were always waiting, always present, always framing whatever small human drama was unfolding at the water's edge. The terracotta and rust of the shoreline, the way the rocks hold warmth even as the light shifts, this is what I kept returning to during my months of field research. The shore as threshold. The place where the known meets the vast. I was looking, in those thirty days beside the Sea of Cortez, for what happens to the self when it is asked to be simply present, without agenda or audience. This painting is my attempt to hold that question in colour rather than in argument. Painting Credit: Amy Tucker, 2026

The Loneliness Hidden in Plain Sight

And yet we are living in an era of unprecedented communicative abundance and epidemic loneliness simultaneously. The paradox is real and unmistakable. Loneliness, as the Harvard researchers understand it, is less about physical isolation than about the subjective experience of feeling unseen and emotionally unreached (Waldinger & Schulz, 2023). This is why loneliness hides so effectively in plain sight. Many people who appear socially fluent, who attend every gathering, fill their calendars, and maintain active digital lives, carry that quiet interior distance without anyone around them knowing. Being surrounded carries no guarantee of being met. This matters because we tend to treat social withdrawal as the symptom to address, when the more precise issue is emotional distance, a condition that can persist regardless of how many bodies share the room.

Being surrounded carries no guarantee of being met.

Finding a Third Word: Alonetude

Sitting with all of this over the past several years, I found myself reaching for distinctions the existing language struggled to hold. The word “loneliness” captured the ache but carried an implication of isolation that I wanted to examine more carefully. The word solitude pointed toward something more intentional, the chosen quiet that writers, artists, and scholars have long sought as a condition for thinking and creating. Anthony Storr (1988), the British psychiatrist and author of Solitude: A Return to the Self, argued that the capacity for solitude is as central to human flourishing as the capacity for relationship, a claim that sits in productive tension with the Harvard Study’s emphasis on relational connection. Solitude allows the mind to settle, ideas to surface, and creative work to unfold without the interruption of social performance.

But I kept encountering a third experience, one that fit neither category with any precision. I began calling it alonetude.

Alonetude is the state where being alone feels expansive rather than empty. Physically solitary, yes, and yet inwardly accompanied by memory, by the particular quality of light at a given hour, by creative work, by a felt sense of belonging to something larger than the immediate moment. It is distinct from loneliness because the ache is absent. It is distinct from solitude in its ordinary sense because it arose, in my own life, precisely from circumstances I would never have chosen, from rupture and institutional loss rather than peaceful, voluntary retreat. Alonetude names the labour of transforming imposed aloneness into something generative, which I have come to understand as both a healing practice and a form of resistance.

Title: Painting Memory: The Shore at Nightfall

A memory painting of the Loreto Bay shoreline at nightfall, showing a deep violet and blue starlit sky with two birds in silhouette, rust-red mountains behind the waterline, and white surf breaking against a terracotta shore.
Artist Statement This painting came from a different hour than the first. If the other painting belongs to the late afternoon, to the long golden light before sunset, this one belongs to the threshold between day and night, that brief interval when the sky deepens toward violet and the mountains lose their detail and become only shape and presence. I painted birds into the sky because I kept seeing them during that hour, pelicans mostly, moving low and purposeful across the water's surface, indifferent to whether anyone was watching. The surf here is white and heavy, almost opaque. I wanted to capture the sound of it as much as the sight, the persistent rhythmic breaking that I came to rely on during my thirty days beside the Sea of Cortez as a kind of company. 

When you are alone for long stretches, sound becomes texture. The waves were always arriving, always completing something, always beginning again. The shoreline in the foreground is painted in rust and dark brown, the same volcanic rock that edged every walk I took. I was drawn to that rock because it was ancient in a way that made my own concerns feel appropriately small. I came to Loreto seeking something beyond escape. I came to find a scale in which the self could rest without dominating the frame. I think this painting is what that felt like: the self as one small thing in a large, indifferent, generous world. Painting Credit: Amy Tucker, 2026

The Capacity to Be Alone

For me, these moments of alonetude tend to arrive in quiet, specific places. Walking beside water before the day has fully opened. Writing in a journal in the blue hour before dawn. Watching light move across a landscape and feeling, in that movement, something that resembles being witnessed. Donald Winnicott (1958), the British pediatrician and psychoanalyst, described what he called the capacity to be alone, arguing that the ability to feel secure within oneself, held by an internalized sense of presence rather than requiring constant external validation, reflects a particular kind of emotional maturity. Alonetude, as I understand it, is something closely related: the discovery that the self can be genuinely accompanied from within, that connection is available even in the absence of another person.

This is where I want to return to the phrase that opened this reflection. Loneliness in a crowd is a diagnosis of a very particular condition: being physically proximate to others while remaining emotionally unreachable. What it reveals is that the remedy for loneliness is presence and authenticity rather than mere proximity. We can fill a room and still be strangers to one another. We can text constantly and remain fundamentally unseen. The Harvard Study of Adult Development has been tracking this truth since 1938, and what eight decades of data confirm is that the architecture of a well-lived life is built from something far more demanding than adjacency (Vaillant, 2012; Waldinger & Schulz, 2023).

Title: Painting Memory: Crescent Moon Over the Sierra de la Giganta

A memory painting of the Sierra de la Giganta mountains at night, rendered in deep lavender and violet with a white crescent moon against a dark charcoal sky.
Artist Statement I painted the mountains at night because that is when they became something else entirely. During the day, the Sierra de la Giganta were backdrop, context, the frame that held the sea in place. At night they lost their practicality and became pure presence. Purple and lavender and something close to blue, their ridgeline dissolving into the dark sky so that it was difficult to say where mountain ended and atmosphere began. I found myself standing outside my casita on more than one evening, just watching them hold the dark. 

The crescent moon I painted small and precise because it was small and precise. It offered only faint illumination, just enough light to make the darkness visible, to give the eye a point of reference in all that immensity. I think that is what I was learning to do in Loreto: rather than flooding the dark with light, to find the small, reliable point from which to orient. To stop needing the whole sky to be bright in order to feel safe.

There is something this painting knows that I am still learning: that the mountains have no need of our attention. They perform for no one. They were there long before I arrived and will remain long after I have gone, carrying their particular shade of purple into night after night, indifferent to whether anyone names what they are. I painted them anyway. It felt like a form of witnessing, and witnessing, I have come to understand, is one of the quietest and most necessary forms of connection. Painting Credit: Amy Tucker, 2026

Presence Over Proximity

The Harvard Study is right that relationships are essential, perhaps the most essential thing. And I want to add something alongside that finding: the quality of our relationship with ourselves shapes the quality of what we can offer and receive in our relationships with others. When I have learned to sit within my own alonetude, to be genuinely present with my own interior life rather than fleeing it into noise or distraction, I find that I arrive at my connections with other people from a place of relative steadiness rather than depletion. I am looking for company rather than a rescue. That is a different kind of showing up.

The phrase lonely in a crowd has always carried a tone of lament, and rightly so. The experience it names is genuinely painful and genuinely common. And yet I wonder if it also holds an invitation to ask what kind of presence we are bringing into the rooms we enter, and whether we have yet learned to be present enough with ourselves to be fully present with anyone else.

A veces la soledad más profunda no es la que vivimos solos, sino la que vivimos rodeados. Sometimes the deepest solitude is the one we live in, surrounded by others. And sometimes, learning to inhabit our own company with grace is where the long work of genuine connection begins.


References

Storr, A. (1988). Solitude: A return to the self. Free Press.

Vaillant, G. E. (2012). Triumphs of experience: The men of the Harvard Grant Study. Belknap Press of Harvard University Press.

Waldinger, R. J. (2015, November). What makes a good life? Lessons from the longest study on happiness [Video]. TED Conferences. https://www.ted.com/talks/robert_waldinger_what_makes_a_good_life_lessons_from_the_longest_study_on_happiness

Waldinger, R. J., & Schulz, M. S. (2023). The good life: Lessons from the world’s longest scientific study of happiness. Simon & Schuster.

Winnicott, D. W. (1958). The capacity to be alone. The International Journal of Psycho-Analysis, 39, 416–420.

Translation Note
Spanish language passages were generated using Google Translate and subsequently reviewed and refined by the author. Any remaining infelicities reflect the limits of machine translation rather than intent.

ACADEMIC LENS

The phenomenon described here, having solitude without alonetude, having physical aloneness without the quality of inwardly accompanied presence, confirms what Moustakas (1961) distinguishes as the difference between structural solitude (being alone) and existential alonetude (being at home with oneself). The failure of alonetude to transfer automatically into a different context also illuminates what van der Kolk (2014) identifies as context-dependent emotional learning: the nervous system’s regulated state is partly cued by the environment in which it was established. Levine (2010) would describe what is needed as the deliberate “evoking” of the somatic resource: the conscious calling-up of the bodily felt sense associated with the Sea of Cortez, to use it as an internal anchor in a less supportive environment. Cacioppo and Patrick (2008) distinguish loneliness as the perceived absence of meaningful connection rather than the absence of people meaningful connection, and this post captures precisely that distinction: surrounded by familiar people and places, yet without the quality of presence-with-oneself that alonetude names. Winnicott’s (1971) developmental frame suggests that this is the harder work: building the capacity to be alone while present in the world, rather than alone from it.

The Geography of Fear: A Vignette on Childhood Hypervigilance and the Cost of Safety

Reading Time: 23 minutes

Trauma scholar Bessel van der Kolk articulates that trauma represents far more than a discrete event from the past; it is an enduring imprint on mind, brain, and body that continues shaping how we navigate the present (2014, p. 21).

Keywords: childhood hypervigilance, trauma, nervous system, body memory, fear, safety, body-based experience, scholarly personal narrative, vignette


States of Being Rather Than Events

Content Warning: This vignette contains discussion of childhood exposure to parental alcoholism and domestic violence. While free of graphic detail, the material addresses trauma, fear, and hypervigilance that some readers may find distressing.

There are childhood memories constructed from discrete events, moments with clear beginnings and endings. And then there are memories that exist as states of being rather than as events, atmospheric conditions that pervaded entire years. This vignette attempts to capture one such state: the pervasive fear that characterized my childhood from approximately ages three through twelve, the years when my father’s alcoholism and violence made our home a place of constant threat. This is the texture of hypervigilance itself rather than the memory of a single incident, the embodied experience of a nervous system locked in perpetual defensive mobilization.

Psychiatrist Bessel van der Kolk (2014) has demonstrated that trauma represents far more than a discrete past event; it is an enduring imprint on mind, brain, and body that continues shaping how we survive in the present. For children living in homes characterized by unpredictable violence, the imprint forms through chronic activation rather than through isolated traumatic events of threat-response systems.

Neuroscientist Stephen Porges (2011), developer of the polyvagal theory, explained that the autonomic nervous system continuously evaluates environmental cues for safety or danger through a process he termed the body’s instinct to scan for safety, an unconscious detection of threat that occurs beneath conscious awareness. In homes where violence erupts unpredictably, children’s nervous systems become calibrated to constant danger, their bodies’ instinct to scan for safety tuned to detect the subtlest indicators of impending harm.

I return to this material now because I cannot understand what thirty days by the sea gave me without understanding what had been taken first. The capacity for alonetude, I have come to believe, requires a nervous system that was once allowed to learn that stillness is safe. Mine learned something else entirely. What I am doing in Loreto is less a discovery than a reclamation.

The Architecture of Chronic Threat

What I am attempting to document here defies conventional narrative structure. There is no rising action, no climax, no resolution. There is only the ongoing state of estar alerta, being alert, a way of inhabiting the world that became so normalized I forgot there was any other way to be. The challenge in writing about this lies in conveying the atmospheric quality of constant vigilance, the way fear became the background hum against which all other experiences played out.

Robert Nash (2004) calls this Scholarly Personal Narrative: the practice of using one’s own experience as scholarly data, rigorously examined and theoretically grounded. My childhood hypervigilance is far more than personal history; it is a case study in how developing nervous systems adapt to chronic threat, how children organize their entire beings around the imperative of survival, and how early experiences of danger foreclose later capacities for rest and solitude.

Psychiatrist Judith Herman observes that children living in chronically threatening environments organize their entire existence around preventing further harm, shaping every aspect of their development and behaviour (1992).

Complex Trauma and Deformation of Personality

Before the narrative, the science. Because what I carried in my body has a name. Psychiatrist Judith Herman (1992) introduced the concept of complex post-traumatic stress disorder (complex PTSD) to describe prolonged, repeated trauma occurring in contexts where escape is impossible, particularly during developmental years. Herman distinguished complex PTSD from single-incident trauma, noting that repeated trauma in adult life erodes the structure of an already-formed personality, but repeated trauma in childhood fundamentally shapes and deforms the personality as it develops. Children exposed to ongoing domestic violence develop far more than memories of specific frightening events; they develop an altered baseline state characterized by constant vigilance, disrupted attachment, and a compromised sense of safety.

This distinction matters profoundly. Single-incident trauma, while devastating, occurs against a backdrop of relative safety. The person knows what normal felt like before the trauma and can potentially return to that baseline. But for children in chronically threatening environments, a safe baseline is absent. The threat is the baseline. Safety, when it occurs, feels like an aberration.

How the nervous system responds to safety and threat, and the Hierarchy of Survival Responses

How the Nervous System Responds to Safety and Threat, developed by Stephen Porges (2011), provides a crucial understanding of how chronic threat shapes the nervous system. Porges described three hierarchically organized subsystems of the autonomic nervous system: the genuine safety system, which supports social engagement and feelings of safety; the sympathetic nervous system, which mobilizes fight-or-flight responses; and the dorsal vagal system, which produces freeze, collapse, and shutdown responses. In safe environments, the nervous system flexibly moves between these states as situations require. However, in chronically threatening environments, the system becomes biased toward defensive states, with the genuine safety social engagement system chronically inhibited (Porges, 2011).

For children in violent homes, this means the nervous system rarely experiences the regulation that comes from safe, attuned relationships. Instead, as van der Kolk (2014) documented, traumatized individuals carry fundamentally different bodily experiences than those who have felt safe and welcome in the world. The chronic activation of threat-detection systems creates what trauma researcher Janina Fisher (2017) termed structural dissociation, the fragmentation of the personality into parts that carry different survival strategies. Children develop what Fisher described as trauma-related action systems, including fight, flight, freeze, submit, and attach-cry-for-help responses, each associated with specific bodily states and relational patterns.

Hypervigilance as an Adaptive Strategy

Hypervigilance, which van der Kolk (2014) characterized as the persistent expectation of danger that keeps the body in a state of high alert, becomes a chronic state rather than an acute response. Clinical psychologist Christine Courtois (2008) noted that children in abusive homes develop what she termed anticipatory anxiety, constantly scanning environments and monitoring adult moods to predict and potentially avoid danger. This anticipatory stance, while adaptive in the moment, creates lasting alterations in how the nervous system processes safety cues even in genuinely safe environments.

Hypervigilance is best understood as an intelligent adaptation rather than a pathology. The child who learns to read micro-expressions, to detect shifts in vocal tone, to map escape routes through the house, that child is surviving rather than malfunctioning. The problem arises from the persistence of the adaptation long after the threat has ended, in the way the nervous system continues to signal danger even in contexts of genuine safety.

Betrayal Trauma and the Violation of Reality

The specific experience of being falsely accused connects to what trauma researchers call betrayal trauma, a concept articulated by psychologist Jennifer Freyd and summarized in Freyd (2008). Freyd argued that when those who should protect us instead harm us, or when we are blamed for harm done to us, the violation cuts deeper than the harm itself because it undermines our basic capacity to trust our own perceptions. For children, false accusations by abusive parents create a double bind: the child knows they were innocent of the accused act, yet the parents’ power requires submission to the false narrative, creating a fundamental rupture in the child’s sense of reality and worth.

Freyd (2008) distinguished betrayal trauma from other forms of trauma by emphasizing that it occurs when the people or institutions on which a person depends for survival violate that trust. For a child, there is no one more dependent upon for survival than parents. When parents both harm and deny the child’s reality, they commit what might be understood as epistemic violence, an assault on the child’s capacity to know what they know.

Parentification and the Burden of Protection

Finally, the pattern of attempting to protect younger siblings represents what family therapist Salvador Minuchin (1974) termed parentification, a developmental distortion in which children assume caretaking roles beyond their capacity. Jurkovic (1997) further described how parentification places the child in an impossible position, simultaneously serving as both a caretaker and a dependent. The child becomes hypervigilant for their own safety as well as their siblings’, exponentially increasing the burden on their developing nervous system.

Most relevant for the current inquiry into alonetude, parentified children often struggle with solitude because their nervous systems learned early that constant vigilance is required for self-protection as well as for the protection of others. Rest feels like a dereliction of duty. Solitude feels like abandonment of the post.


van der Kolk (2014) demonstrates that the body continues to register and respond to danger signals even when conscious memory holds no record of the original trauma.


The Vignette: The Feeling in My Stomach

The Constant Companion

I am seven. Or eight. Or nine. The specific age matters less than the constancy: from my earliest memories until approximately age twelve, I lived inside a particular sensation. It sits in my stomach, a tight ball of readiness. Neither quite nausea, though sometimes it tips that way, nor quite pain, though it aches. It is the feeling of waiting. Esperando (waiting). Always listening and waiting for the sound that will tell me whether this evening will be safe.

The sound is the garage door. My father’s car is pulling in at the end of the day. My body knows before my mind processes: the particular rhythm of his footsteps tells me everything I need to know. Heavy, deliberate steps mean danger. Lighter, quicker steps might mean safety, though guarantees are absent. The ball in my stomach tightens, and my breathing changes without my choosing. I am listening with my whole body, with every sense.

By the time I hear the garage door, I have already assessed multiple variables. What day of the week is it? Fridays are more dangerous. How late is he? Later means more drinking. Did my mother seem tense at dinner? Her tension means she has already sensed something. Is my younger sister being too loud? Noise draws attention, and attention is dangerous. The youngest is seven years younger than me, still small enough that sometimes she cries in ways I cannot quiet, and this terrifies me more than my own danger.

Reading Atmospheres

I develop a hyperawareness of atmospheres. I can feel the charge in the air before anything visible changes. My mother’s shoulders tighten in a particular way. The house itself seems to hold its breath. By age eight or nine, I had learned to read micro-expressions, shifts in vocal tone, and the precise degree of door-closing force that indicates anger. I am fluent in the language of approaching violence in ways that children should never need to be fluent.

The worst moments arrive before violence, during the hours of waiting, the ball in my stomach wound so tight I think it might tear something open. During these hours of waiting, I strategize. Where are my sisters? If something happens, can I get to them? Are there obstacles between me and their rooms? I map the house in my mind like a battlefield, planning routes and refuges. The hall closet has been my hiding place before. The space under my younger sister’s bed. The corner behind the living room chair, where I can pull my knees to my chest and make myself small. Pequeña. Invisible. (Small. Invisible.)

The Geography of Hiding

The house has its own geography of fear. Certain rooms are more dangerous than others. The kitchen, where my father drinks after work, where the counter holds the evidence of how many bottles have been opened. The living room, where he sits in his chair and calls us to him. The hallway between my room and my sisters’ rooms, which I must cross to reach them if they need me, feels impossibly long and exposed.

I learn to move through the house silently. I learn which floorboards creak, which doors squeak, and how to open cabinets without sound. I learn to make myself unnoticeable, to exist without creating disturbance, to breathe so shallowly that even my breath draws no attention. This skill, this ability to minimize my presence, will follow me for decades, will manifest in adult relationships as difficulty taking up space, as apologizing for existing, as constantly making myself smaller to accommodate others’ needs.

But in childhood, this skill kept me alive. Or at least, it keeps me safer than I would otherwise be. Which is something entirely different from safe. Genuine safety was absent there. There are only degrees of threat, gradations of danger that I learn to navigate with the precision of a cartographer mapping treacherous terrain.

The Sound of My Name

Sometimes my father calls my name. This sound, my own name spoken in his voice when he has been drinking, produces a physical response I have no control over. My heart accelerates. My vision narrows. The ball in my stomach clenches. I freeze, completely still, as if stillness might make me invisible. But I must answer. Silence is worse. I force my legs to move, force my voice to work, force my face into neutrality. The walk down the hallway to wherever he is calling from feels like walking to execution. Caminar hacia el miedo (walking toward fear).

“Did you do this?” His voice, accusing.

The meaning of “this” remains unclear. A glass was left on the counter. A door left ajar. A light was left on. The television is too loud. The offence varies and often makes no logical sense. But the pattern is always the same: I am accused of actions I never committed, actions I would avoid because I am so careful, so hypervigilant about avoiding any reason for attention, for anger, for danger.

“No,” I say, my voice small. This is true. I was innocent of whatever he accuses me of. But truth carries no power here.


Freyd (2008) explains that betrayal trauma occurs when those we depend upon for survival violate our trust, creating wounds that extend beyond the traumatic event itself to undermine our capacity to trust our own reality (Freyd, 2008).


The Fracturing of Reality

The moment stretches. He decides whether to believe me. Sometimes he does. Sometimes he refuses to. When he refuses to believe me, when he insists I am lying even though I am telling the truth, something breaks inside me each time. Beyond the fear of punishment, though that fear is real, something deeper: the understanding that reality itself can be overwritten by someone else’s version, that my knowing what is true offers no protection, that I can be blamed for actions I never committed simply because someone with power over me decides I am guilty.

This lesson embeds itself deeply. Decades later, I will struggle to trust my own judgment, will defer excessively to others’ interpretations of events, will doubt my own memory and experience even when I have clear evidence of their accuracy.

The Leaving

During these moments, I split. Some part of me goes away to a place where his words cannot reach. My face remains neutral. My body stands still. But I am elsewhere entirely. Years later, I will learn this is called dissociation, a survival strategy my nervous system deployed to protect me from unbearable psychological pain. In the moment, I only know that I must conceal my tears, restrain my defence, and hide how afraid I am. Any emotional response increases danger.

Where do I go when I leave? The answer eludes me. It is an automatic response rather than a conscious choice, my body’s wisdom protecting me in the only way available when fight-or-flight is both impossible and dangerous. I exist in some internal space that feels grey and distant, muffled, as if I am underwater and the sounds are reaching me from far away. This internal refuge keeps me functioning, but at a cost: I lose pieces of my experience, cannot fully remember what happened during these dissociated moments, and carry gaps in my memory that will later make me doubt whether events occurred as I recall them.

The Weight of Protection

After these confrontations, after he has yelled or grabbed or made his point through whatever means he chooses, I go to check on my sisters. My younger sister, only one year younger than me, has often heard everything through the walls. I find her frozen in her bed, eyes wide, her own body locked in the same alert state that grips mine. “It is okay,” I tell her, though we both know the reality is far from okay. “He is calmer now.” Ya pasó. (It has passed.) Though we both know the calm is temporary, that it will come again, that this is merely an intermission.

I smooth her hair the way our mother does, or used to do before exhaustion made all gestures mechanical. I try to absorb her fear into my own body, try to create a buffer between her and the violence, try to convince both of us that I can keep her safe when in reality I am just another child, just as powerless, just as frightened.

The youngest, still small, often sleeps through these episodes. When she wakes, confused by the atmosphere, by the tension that lingers in the house like smoke, I make up reasons. “Dad was just talking loud about work.” Anything to preserve her innocence a little longer, though I suspect she absorbs the fear even when its source lies beyond her conscious awareness. Babies know. Children know. Bodies know what minds try to deny.

The Vigil

I lie awake long after the house has gone silent. The ball in my stomach slowly, slowly begins to unclench, though it never fully releases. My body remains ready, vigilant. Sleep comes late and lightly. I will wake at any unfamiliar sound, my heart already racing before I am fully conscious. Tomorrow I will move through school in a fog of exhaustion, but I have become skilled at hiding this, too. At appearing normal. At performing the role of a child who is fine when everything inside me is wound tight as a wire.

The Normalization of Terror

This is hundreds of memories rather than a single memory; thousands of moments of fear spread across years. This is the texture of my childhood, the baseline state against which any moments of safety appear as aberrations. The ball in my stomach becomes so constant that I forget there was ever a time I existed without it. It becomes my normal, the lens through which I perceive the entire world: dangerous, unpredictable, requiring constant vigilance.

Even in moments that should be safe, the fear persists. At school, I scan constantly for social threats, for signs that peers might reject or exclude me. During rare family outings when my father is sober, I remain tense, waiting for the mood to shift. The nervous system, once calibrated to a constant state of threat, cannot easily recalibrate, even when external circumstances temporarily improve. Safety feels temporary, fragile, a gift that can be revoked at any moment.

What I lacked understanding of then but comprehend now through trauma neuroscience is that my body is accurately responding to chronic threat by remaining in a state of mobilized defence. The hypervigilance is entirely rational, a genuine response to genuine danger. The problem emerges later, when the danger has ended, but the defensive mobilization persists, when my adult nervous system continues responding as if I am still that child in that house, still needing to monitor constantly for threats that no longer exist.

Analytical Reflection: How Chronic Fear Shapes the Developing Self

The Colonization of the Body by Trauma

The experiences documented above illustrate what van der Kolk (2014) described as the colonization of children’s bodies by trauma, the way threat becomes inscribed in their nervous systems at the most fundamental level (van der Kolk, 2014). There are several things happening at once here. The constant monitoring of environmental cues for safety represents Porges’s (2011) concept of the faulty body’s instinct to scan for safety, in which the nervous system becomes so calibrated to threat detection that it perceives danger even in neutral or safe situations (Porges, 2011). For children in chronically dangerous environments, however, the body’s instinct to scan for safety is accurately attuned to real threat rather than to a truly faulty one. The problem emerges later, when the nervous system maintains this threat-detection bias long after the environment has changed.

The ball in my stomach described in the vignette represents what trauma therapist Peter Levine (2010) identified as chronic sympathetic nervous system activation combined with freeze response. Levine (2010) explained that when fight or flight responses are impossible, as they often are for children in abusive homes, the nervous system enters a state he termed frozen flight, in which mobilization energy remains trapped in the body, creating sensations of constriction, tightness, and readiness that never discharge (Levine, 2010). This trapped activation, maintained over years, creates lasting alterations in how the body experiences and responds to stress.

Disorganized Attachment and the Impossible Bind

Second, the hypervigilant monitoring of my father’s moods and movements exemplifies what attachment researcher Mary Main (1991) termed disorganized attachment, the attachment pattern that develops when caregivers are simultaneously sources of comfort and fear. Main (1991) noted that children with disorganized attachment display contradictory behaviours, alternately approaching and withdrawing from caregivers, because their attachment and defence systems are simultaneously activated. The child needs the parent for survival, but also needs to protect themselves from the parent, creating an irresolvable paradox that fragments their sense of self and safety.

Adults with histories of disorganized attachment often experience relationships as simultaneously compelling and dangerous. They crave intimacy while fearing engulfment. They seek closeness while maintaining defensive distance. The nervous system never learns to distinguish between connections that nourish and those that harm, because in childhood, they came from the same source.

Epistemic Violence and the Undermining of Reality

Third, the experience of false accusation illuminates what Freyd (2008) termed institutional betrayal, extended here to familial betrayal. When authority figures who should protect us instead harm us and then blame us for the harm, they violate both our physical safety and our cognitive integrity. The child knows themselves innocent of the accused act, yet the parent’s insistence creates what psychologist Albert Biderman (1957) identified in his study of prisoners of war as forced compliance with false narratives, a form of psychological torture that undermines the victim’s grip on reality itself.

Freyd (2008) argued that betrayal trauma is particularly damaging because it involves violations by those on whom we depend for survival. For a child, parental accusations of wrongdoing against an innocent child create a double trauma: the initial experience of being blamed, and the deeper violation of having their reality denied. Over time, this pattern erodes the child’s capacity to trust their own perceptions, creating what trauma therapist Alice Miller (1981) described as a dynamic in which children learn to doubt their own experiences and instead adopt the abuser’s version of reality as a protective strategy.

Parentification and the Foreclosure of Childhood

Fourth, my role as protector of my younger sisters represents destructive parentification. Jurkovic (1997) distinguished between instrumental parentification, taking on practical household tasks, and emotional parentification, providing emotional support and regulation to family members. My hypervigilance extended beyond self-protection to constant monitoring of my sisters’ safety, effectively requiring me to function as parent, protector, and threat-assessor simultaneously. Jurkovic (1997) documented how this impossible burden reshapes identity in ways that persist long into adulthood.

The long-term consequences of parentification include difficulty accepting care from others in adulthood, a persistent sense of responsibility for others’ emotional states, and a compromised capacity to recognize and communicate one’s own needs (Hooper, 2007). Most relevantly for the current inquiry into alonetude, parentified children often struggle with solitude because their nervous systems learned early that constant vigilance is required for survival. True rest, true solitude, true letting go of protective vigilance can feel dangerous even decades after the original threat has ended.

Dissociation as Survival and Its Lasting Costs

Fifth, the dissociative response I described, the sense of going away during unbearable moments, represents what van der Kolk (2014) termed the last resort of the organism when fight, flight, and freeze are all impossible (van der Kolk, 2014). Trauma researcher Ellert Nijenhuis (2004) explained structural dissociation as the division of the personality into parts: an apparently normal part that attempts to function in daily life, and emotional parts that remain stuck in traumatic states. For children in chronically abusive environments, dissociation serves a crucial protective function, allowing them to continue functioning while parts of themselves remain frozen in moments of overwhelming threat.

However, as psychiatrist Frank Putnam (1997) documented, chronic childhood dissociation creates lasting alterations in consciousness, memory, and the sense of self. The capacity to leave one’s body during threat, while adaptive in the moment, can become an automatic response triggered by even minor stressors in adulthood. This creates a fragmented relationship to embodiment, making it difficult to remain fully present in one’s body even when genuinely safe.

Table 1

Neurobiological and Psychological Impacts of Chronic Childhood Fear

DomainChildhood ManifestationNeurobiological MechanismAdult Legacy
Threat DetectionHypervigilance, constant monitoring of environments and peopleAmygdala hyperactivation; sensitized stress response systems (van der Kolk, 2014)Difficulty distinguishing safe from unsafe situations; chronic anxiety in neutral contexts
Autonomic Regulation“Ball in stomach,” chronic tension, shallow breathingSympathetic nervous system dominance; vagal brake inhibition (Porges, 2011)Difficulty accessing genuine safety calm; limited stress tolerance window
EmbodimentDissociation, “going away,” numbingDorsal vagal shutdown; structural dissociation (Nijenhuis, 2004)Fragmented body awareness; difficulty staying present in body
AttachmentSimultaneous fear and need for caregiver; protective of siblingsDisorganized attachment; simultaneous activation of attachment and defence systems (Main, 1991)Difficulty trusting others; push-pull in relationships
Fragmented body awareness; difficulty staying present in the bodyForced compliance with false accusationsBetrayal trauma; cognitive dissonance (Freyd, 2008)Difficulty trusting own perceptions; excessive self-doubt
Identity FormationRole confusion; parentificationDisrupted developmental trajectories (Jurkovic, 1997)Overdeveloped responsibility for others; underdeveloped self-care
Capacity for RestSleep disturbances; inability to fully relaxChronic the body’s alert state; fear conditioningSolitude feels unsafe; difficulty with unstructured time

Note. This table synthesizes neurobiological and developmental impacts of chronic childhood exposure to domestic violence. The mechanisms and legacies interact in complex ways; separating them into discrete categories oversimplifies their interconnected nature.

Critical Interrogation: Limitations, Risks, and Ethical Considerations

Academic integrity requires examining what this vignette might distort or what ethical concerns it raises. First, writing about childhood trauma risks what trauma studies scholar Roger Luckhurst (2008) called wound culture, the commodification of suffering for narrative purposes. By making my childhood fear into scholarly material, I risk flattening its complexity, turning lived anguish into theoretical illustration. Luckhurst (2008) cautioned against trauma narratives that serve primarily to elicit sympathy rather than advance understanding.

However, feminist scholar Wendy Brown (1995) argued that the strategic deployment of injury narratives can serve political and epistemic purposes when done critically. Brown (1995) distinguished between wounded attachments, identities organized entirely around injury, and critical injury discourse, which examines structures of power that produce suffering. My intention here aligns with the latter: using personal experience to illuminate how chronic childhood threat shapes lifelong patterns of embodiment, relationship, and capacity for rest.

Second, this vignette focuses on my experience as the oldest sibling and temporary protector, potentially obscuring my sisters’ distinct experiences. They lived in the same house but occupied different positions in the family system, different ages and therefore different developmental impacts, different strategies and different injuries. My narrative must resist the temptation to presume to speak for them or to represent the definitive truth of our shared childhood. Philosopher Linda Alcoff (1991) cautioned about the problem of speaking for others, noting that even well-intentioned representation can silence those whose experiences differ from the narrator’s.

Third, by focusing on my father’s alcoholism and violence, this vignette might appear to pathologize addiction or to reduce complex family dynamics to simple perpetrator/victim categories. Addiction medicine recognizes alcoholism as a disease requiring treatment rather than moral failure. My father’s violence and my fear are both real, and neither negates the other’s reality. Trauma-informed practice requires holding multiple truths simultaneously: that my father likely experienced his own traumas, that addiction reflects neurobiological changes in the nervous system thrown off balance, and that none of this erases the harm caused or reduces my right to name my experience honestly.

Fourth, the emphasis on hypervigilance as a survival strategy risks romanticizing trauma’s adaptations. While it is true that children develop remarkable capacities for threat detection and self-protection, these deserve recognition as costly adaptations rather than gifts that trauma provides. What psychologist Mary Sykes Wylie (2004) called the myth of resilience obscures the profound costs of surviving chronic trauma. I did survive, but at an enormous developmental, neurobiological, and relational cost. The hypervigilance that kept me alive also kept me from experiencing a protected childhood, from developing secure attachment, and from knowing my body as a safe space.

Finally, memory’s limitations apply here as powerfully as in any autobiographical narrative. The experiences I describe occurred decades ago, filtered through a child’s understanding and shaped by adult sense-making processes. As Schacter (2001) documented, memory is inherently reconstructive rather than reproductive. I cannot know with certainty which details are accurate recall and which are narrative elaboration. What I can attest to with confidence is the affective truth, the emotional and body-based resonance of these memories, the way my body still responds to certain triggers in ways that suggest deep encoding of threat.

My stomach still clenches in ways. My breath still catches when I hear certain vocal tones. My shoulders still rise toward my ears when doors close with force. These body-based responses suggest that, whatever the precise accuracy of my narrative recollection, something real was encoded, something that continues to live in my nervous system.


Porges (2011) demonstrates that when a nervous system has been shaped by chronic danger, safety itself can feel foreign and unfamiliar, requiring conscious relearning of what secure states feel like.


Where I Land: From Hypervigilance to Alonetude

The Legacy of Chronic Threat

This vignette matters to the larger Alonetude project because it illuminates why solitude, rest, and the very idea of letting down my guard feel so dangerous, even five decades after the original threat ended. Trauma researcher Pat Ogden (2006) explained that traumatized individuals often experience solitude as threatening rather than restorative because their nervous systems learned that constant vigilance is required for survival. The capacity to be alone, truly alone without hypervigilance, requires what Porges (2011) termed safety signals, environmental and relational cues that allow the genuine safety system to inhibit defensive mobilization.

The thirty days in Loreto represent an attempt to provide my nervous system with sustained safety signals: predictable routine, the absence of threat, permission to rest, and solitude chosen rather than imposed. This is about healing rather than getting over childhood trauma or transcending its effects through willpower. Rather, as van der Kolk (2014) argued, healing from trauma requires finding a way to become calm and focused while remaining in connection with one’s body and emotions. The retreat offers conditions for what trauma therapist Janina Fisher (2017) described as healing the fragmented self, the gradual integration of dissociated parts through experiences of sustained safety.

Retraining the Nervous System

The ball in my stomach, that childhood sensation of perpetual readiness, still activates under stress. My nervous system still scans the environment for threats more vigilantly than necessary. I still experience difficulty with unstructured time, with true rest, with letting my guard down. These are accurate indicators of deep fear encoding rather than failures of character, signs of how profoundly threat became inscribed in my body during formative years. Understanding this through trauma neuroscience helps me recognize that my struggles with solitude reflect nervous system adaptations to real threat rather than characterological weakness to real threat.

What the Loreto retreat offers is gradual, patient retraining rather than erasure of these patterns. Porges (2011) explained that the nervous system can learn new responses through sustained exposure to genuine safety combined with therapeutic relationships. While I am alone physically in Loreto, I carry with me the relational safety of chosen connections, including therapeutic relationships that have helped me begin to recognize safety cues. Each morning when I wake without the ball in my stomach, each hour I spend in my body without dissociating, each moment of genuine rest represents a small victory in retraining a nervous system calibrated long ago for perpetual threat.

Honouring the Child Who Survived

The child who learned to make herself small, to anticipate danger, to protect her sisters at cost to her own development, that child still lives in my nervous system. Todavía está aquí. (She is still here.) This retreat offers her, at last, what she needed then and never received: sustained safety, permission to rest, and recognition that the hypervigilance that kept her alive is no longer required. This is alonetude’s deepest promise: solitude as sacred space rather than isolation in which I can finally, slowly, begin to put down vigilance’s exhausting burden.

In moments of particular stillness here in Loreto, I sometimes feel her presence, that vigilant child-self. She is always scanning, always alert, always ready. “You can rest now,” I tell her, speaking internally in the way therapy has taught me. “Puedes descansar.” You can rest. The fight is over. The danger has passed. You kept us alive, and now you can rest.

She struggles to believe me. Decades of hypervigilance dissolve slowly, and thirty days by the sea brings only beginnings. But sometimes, in the early morning light when the pelicans glide past my window, when the only sound is the gentle pulse of waves against shore, I feel her soften slightly. The ball in the stomach unclenches, just a degree. The breath deepens, just a fraction. The shoulders drop away from the ears, just momentarily.

These are quiet healing moments rather than dramatic ones. They are quiet, incremental, and easily missed. But they matter. They represent the slow work of teaching a nervous system calibrated to danger that safety is possible, that rest is permitted, that solitude can be restorative rather than threatening. This is the work of alonetude: integrating rather than transcending the past, honouring rather than erasing the hypervigilant child, but finally giving her what she always needed and deserved.

The Ongoing Nature of Healing

Healing from complex childhood trauma follows a winding course, achieved through ongoing effort rather than once and maintained. It requires ongoing, patient attention to the body’s responses, compassionate curiosity about triggers and patterns, and a willingness to remain present even when every instinct says to flee, freeze, or fight. It requires what van der Kolk (2014) called befriending the body, learning to listen to its signals as information rather than threat.

The thirty days in Loreto are practice rather than a cure. Practice staying present. Practice in recognizing safety. Practice in allowing rest. Practice in trusting that perpetual vigilance is no longer required for survival. The hypervigilant patterns will persist for some time. But perhaps, with sustained attention and compassionate patience, they can soften. Perhaps the nervous system can learn, slowly, that safety is genuinely possible, genuinely sustainable rather than merely temporary.

This is what brings me here, to this casita by the sea, to these thirty days of chosen solitude. Engagement with the past rather than escape from it. Acknowledgment of trauma’s impacts rather than denial. Honouring her intelligence, her survival, her fierce protection of those she loved, while gently teaching her that the time for such fierce protection has passed, that she can finally rest, that she is safe now, que está segura ahora (that she is safe now), that alonetude offers refuge rather than threat, possibility rather than danger, peace at long last.


References

Alcoff, L. (1991). The problem of speaking for others. Cultural Critique, 20, 5–32. https://doi.org/10.2307/1354221

Biderman, A. D. (1957). Communist attempts to elicit false confessions from Air Force prisoners of war. Bulletin of the New York Academy of Medicine, 33(9), 616–625.

Brown, W. (1995). States of injury: Power and freedom in late modernity. Princeton University Press.

Courtois, C. A. (2008). Complex trauma, complex reactions: Assessment and treatment. Psychological Trauma: Theory, Research, Practice, and Policy, S(1), 86–100. https://doi.org/10.1037/1942-9681.S.1.86

Fisher, J. (2017). Healing the fragmented selves of trauma survivors: Overcoming internal self-alienation. Routledge.

Freyd, J. J. (2008). Betrayal trauma. In G. Reyes, J. D. Elhai, & J. D. Ford (Eds.), The encyclopedia of psychological trauma (pp. 76–77). John Wiley & Sons.

Herman, J. L. (1992). Trauma and recovery: The aftermath of violence: From domestic abuse to political terror. Basic Books.

Hooper, L. M. (2007). The application of attachment theory and family systems theory to the phenomena of parentification. The Family Journal, 15(3), 217–223. https://doi.org/10.1177/1066480707301290

Jurkovic, G. J. (1997). Lost childhoods: The plight of the parentified child. Brunner/Mazel.

Levine, P. A. (2010). In an unspoken voice: How the body releases trauma and restores goodness. North Atlantic Books.

Luckhurst, R. (2008). The trauma question. Routledge.

Main, M. (1991). Metacognitive knowledge, metacognitive monitoring, and singular (coherent) vs. multiple (incoherent) models of attachment: Findings and directions for future research. In C. M. Parkes, J. Stevenson-Hinde, & P. Marris (Eds.), Attachment across the life cycle (pp. 127–159). Routledge.

Miller, A. (1981). The drama of the gifted child: The search for the true self. Basic Books.

Minuchin, S. (1974). Families and family therapy. Harvard University Press.

Nash, R. (2004). Liberating scholarly writing: The power of personal narrative. Teachers College Press.

Nijenhuis, E. R. S. (2004). Somatoform dissociation: Phenomena, measurement, and theoretical issues. W. W. Norton & Company.

Ogden, P., Minton, K., & Pain, C. (2006). Trauma and the body: A sensorimotor approach to psychotherapy. W. W. Norton & Company.

Porges, S. W. (2011). The Polyvagal Theory: Neurophysiological foundations of emotions, attachment, communication, and finding our own calm. W. W. Norton & Company.

Putnam, F. W. (1997). Dissociation in children and adolescents: A developmental perspective. Guilford Press.

Schacter, D. L. (2001). The seven sins of memory: How the mind forgets and remembers. Houghton Mifflin.

van der Kolk, B. A. (2014). The body keeps the score: Brain, mind, and body in the healing of trauma. Viking.

Wylie, M. S. (2004). The limits of talk: Bessel van der Kolk wants to transform the treatment of trauma. Psychotherapy Networker, 28(1), 30–41.

Translation note. Spanish language passages were generated using Google Translate and subsequently reviewed and refined by the author. Any remaining infelicities reflect the limits of machine translation rather than intent.

ACADEMIC LENS

This vignette explicitly foregrounds van der Kolk’s (2014) argument as its theoretical frame: trauma is an enduring somatic impression rather than simply a past event, imprint that continues to shape present experience. The vignette form chosen here is methodologically appropriate: van der Kolk himself documents how traumatic memory surfaces in sensory fragments, images, and scenes rather than continuous narrative, and the vignette honours this structure rather than imposing a false coherence. Menakem (2017) extends the analysis generationally: childhood hypervigilance extends beyond the child’s individual response to threat but the nervous system’s uptake of patterns transmitted from caregivers who were themselves shaped by their histories. Porges’s (2011) Polyvagal Theory contextualizes hypervigilance physiologically: the child’s nervous system, unable to establish the “safe and social” state that co-regulation with a regulated caregiver would provide, settles into chronic sympathetic activation as a survival default. Levine’s (2010) somatic experiencing model suggests that recovery from this early patterning requires, above all, new repeated experiences of safety: beyond understanding alone: the body’s gradual revision of its baseline expectations about what environments and relationships hold.

3 Minute Thesis: Alonetude at Thompson Rivers University

Reading Time: 2 minutes

I stood at the podium with three minutes to explain thirty days, nineteen years, and the question that has been living in my body for longer than I can name.

The 3 Minute Thesis competition at Thompson Rivers University, March 2, 2026. Secwépemc territory. One slide. One photograph I took beside the Sea of Cortez. One question on the screen behind me:

What happens when we stop running from silence and let it teach us how to heal?

Amy Tucker presenting Alonetude research at the 3 Minute Thesis competition, Thompson Rivers University, March 2, 2026. She stands at a microphone gesturing toward a slide that reads: Alonetude: The Healing Practice of Chosen Solitude.
Photo: Deiveek | Thompson Rivers University Photography | 3MT, March 2, 2026

I had three minutes. I had the whole project behind me: thirty days, eighty-one blog entries, thousands of kilometres of nervous system regulation, grief held and released, stones collected, pelicans watched, tears cried into salt water. I had a methodology grounded in the body. I had a word I invented, alonetude, and the conviction that it names something real.

Three minutes to say: precarious academic labour goes beyond economics. It lives in the body. It reshapes the nervous system. It forecloses the capacity for rest. And rest, genuine rest, embodied and unhurried, is a human right under international law, a matter of human dignity.

Three minutes to say: I went to Loreto, México, for thirty days alone. I brought my research questions, my sixty-year-old body, and one orange suitcase. I stayed until the sea taught me something a desk could never have offered.

I have no distance on how it went, exactly. I was inside it. I could feel the room listening. I could feel myself steady in a way I was unsteady a year ago, or six months ago, or even four months ago when I sat alone in the casita watching the sun set over the Sea of Cortez, wondering if any of this would ever be finished.

It is finished. And it is being heard.

Alonetude: The Healing Practice of Chosen Solitude.

Three minutes. Nineteen years. Thirty days by the sea. One breath before I spoke.


Thompson Rivers University | 3 Minute Thesis | March 2, 2026 | Kamloops, BC | Secwépemc Territory