Day 19: The Artifact Archive

Finding the Language Before Words

Low Tide

The morning begins differently from the others. I leave my journal on the table. I reach for the small cloth bag hanging by the door, the one I bought at the mercado for carrying treasure and now carry for carrying what the sea leaves behind.

Image: Low Tide: An Artifact Archive

Photo Credit: Amy Tucker, 2026

Notation: A visual record of low tide as threshold, documenting how attention, touch, and found objects become a form of embodied knowing and creative recovery.

Low tide has pulled back the waterline like a curtain rising on a stage scattered with props. I walk slowly, head bent, eyes soft-focused, the way Iles-Jonas (2023) describes in her writing on beachcombing meditation, receiving rather than scanning urgently, open to what the shore offers. The repetitive motions of walking, bending, and standing begin to affect my nervous system. My breath slows. My shoulders drop. Something in my chest unclenches.

Image: Low Tide Shoreline

Photo Credit: Amy Tucker, 2026

Notation: The shoreline at low tide reveals what is usually hidden. Exposed sand, scattered fragments, and a widened horizon mark a brief interval of openness before the sea returns.

A piece of sea glass catches the early light. Green, the colour of old wine bottles. Once sharp and dangerous, now softened by endless tumbling. I hold it to the sun and watch light move through it like water through memory. The edges are frosted, rounded, and safe to hold. I think about what time does to things. What salt and sand and constant motion do to the jagged parts of us.

This is wabi-sabi made visible. The Japanese aesthetic that finds beauty in imperfection, impermanence, and incompleteness (Juniper, 2003; Koren, 1994). This sea glass, weathered and clouded, is more beautiful than the bottle it once was. The transformation requires time; I cannot rush. Patience, I am learning.

Image: What the Sea Softens

Photo Credit: Amy Tucker, 2026

Note. Weathered sea glass gathered at low tide, softened by time, salt, and motion into fragments safe to hold.

I find a spiral shell, small enough to sit in my palm. Growth that moves outward while turning inward is a natural representation of how personal development requires both expansion and introspection. I find a piece of driftwood, silver-grey and salt-cured, dead wood given new life through salt and sun. Greenspan’s (2003) alchemy made visible the transformation of what appears finished into something with renewed purpose and beauty.

Image: Held Spiral

Photo Credit: Amy Tucker, 2026

Note. A small spiral shell rests in the palm, holding outward growth and inward turning in a single form.

My cloth bag grows heavy with treasures. Each object becomes a small sermon on impermanence and resilience.

Recojo tesoros que el mar regala. I collect treasures that the sea gives back.

Back at the cottage, I spread my finds across the wooden table. The sea glass sits on my table. The shells are arranged by size. The smooth stones lined up like a quiet congregation. The driftwood pieces lay out like bones waiting to be assembled into meaning.

Image: The Artifact Archive Table

Note. Collected objects are sorted and arranged without a plan. Sea glass, shells, stones, and driftwood become a quiet archive of attention, presence, and embodied memory.

I begin to arrange the objects. With intuition rather than a plan, moving pieces like words in a sentence, I am still learning to speak. This is bricolage, creating with whatever is at hand. Lévi-Strauss (1966) described the bricoleur as one who makes do with available materials, creating meaning from found objects rather than purpose-made tools. Today, I am the bricoleur of the beach. The sea has provided my vocabulary. Now I am learning its grammar.

What I will make remains ahead of me. That feels important. For so long, productivity demanded knowing the end before beginning. Art asks something different. Art asks for presence without a predetermined outcome.

The morning passes without my noticing. When I finally look up, three hours have disappeared into flow, Csikszentmihalyi’s (1990) optimal experience made real in my own hands. I feel the particular satisfaction of having made something from nothing, of having spoken in a language older than words.

Theoretical Framework: The Healing Architecture of Creative Flow

Flow States and the Alonetude of Making

What happened at my table this morning has a name in positive psychology: flow. Mihaly Csikszentmihalyi (1990), the Hungarian-American psychologist widely regarded as the father of flow research, described this state as complete immersion in an activity in which nothing else seems to matter, where the experience itself becomes so enjoyable that people pursue it for its own sake, regardless of cost. During flow, individuals report feeling strong, alert, in effortless control, unselfconscious, and operating at peak capacity (Csikszentmihalyi, 1990).

The term flow state refers to a psychological condition of complete immersion in an activity, characterised by deep concentration, diminished self-consciousness, and an altered sense of time. Unlike passive relaxation, flow emerges from active engagement in which skill level is well matched to challenge level. Tasks that are too easy tend to lead to boredom, while those that are too difficult often lead to anxiety. The balance between these extremes creates what Csikszentmihalyi (1990) describes as optimal experience.

Image: Where Things Gather

Photo Credit: Amy Tucker, 2026

Note. Shells, stones, coral, and driftwood settle together at the base of dry branches, held in place by gravity, wind, and time. Maybe someone put them there, or maybe the wind did?

From a neurological perspective, flow is associated with decreased prefrontal cortex activity, a phenomenon known as transient hypofrontality (Dietrich, 2004). This temporary reduction in executive functioning may help explain the loss of self-consciousness and altered time perception commonly reported during flow states. The inner critic quiets. The ruminating mind stills. What remains is presence.

For those healing from occupational trauma, this temporary relief from the hypervigilant self-monitoring that characterises chronic stress offers profound neurological rest. My morning spent arranging sea glass was far beyond a pleasant distraction; it was an active form of neurological recovery.

Table 1

Conditions for Flow and Their Manifestation in Beachcombing Art Practice

Accessible entry; endless possibilities for complexityDefinitionBeachcombing Art Manifestation
Clear goalsActivity has clear immediate objectivesFinding treasures; creating aesthetic arrangement
Immediate feedbackProgress is visible and continuousEach find is instant reward; arrangement evolves visually
Challenge-skill balanceTask difficulty matches ability levelAccessible entry; endless possibility for complexity
Merged action-awarenessComplete absorption in activityThe ego temporarily suspends
Loss of self-consciousnessEgo temporarily suspendsNo inner critic judging; simply making
Transformed time perceptionHours feel like minutesThe ego temporarily suspends

Note. Conditions adapted from Csikszentmihalyi (1990). Flow manifestations are documented through the researcher’s reflexive journaling.

Blue Mind: The Neuroscience of Water Proximity

The therapeutic benefits of beachcombing extend beyond flow into what marine biologist Wallace J. Nichols (2014) describes as Blue Mind, a mildly meditative state characterised by calm, peace, unity, and a sense of immediate satisfaction with life. In contrast to the frenetic Red Mind associated with constant digital stimulation, blue spaces activate a neurochemical cascade that supports relaxation, eases anxiety, and enhances creative thinking.

The term Blue Mind refers to the cognitive and emotional benefits derived from proximity to water environments. Research demonstrates that coastal residents exhibit higher levels of positive psychological effects, including reduced stress and increased physical activity, compared to inland residents (White et al., 2021). Regular exposure to ocean environments can alter brain wave frequencies, putting individuals into meditative states while improving cognitive functions such as learning and memory.

Title: Contact

Photo Contact: Amy Tucker, 2026

Note. A hand rests on a smooth volcanic stone, registering weight, temperature, and presence through touch.

Negative ions in sea air have been shown to increase oxygen uptake in the human body, with potential benefits for mood and reductions in depressive symptoms (Perez et al., 2013). The rhythmic sound of waves produces frequencies in the range of approximately 20 to 500 hertz, which align with brainwave patterns associated with deep relaxation. This auditory rhythm has a lulling effect that supports contentment and calm, offering predictable sensory patterns that the human nervous system often registers as safe.

For those carrying occupational trauma in their bodies, this neurological recalibration offers significant healing potential. The polyvagal system, attuned to environmental cues of safety and danger, reads the rhythmic constancy of waves as evidence of a stable, predictable environment. The nervous system can release its vigilant grip.

Beachcombing as Contemplative Practice

Beachcombing operates as what might be termed embodied mindfulness, a form of meditation that requires no instruction, no cushion, and no prescribed posture. The activity naturally anchors practitioners in present-moment awareness through sustained sensory engagement. The focused search for small treasures helps clear the mind, drawing the beachcomber into immediate connection with the earth, a state that meditation practitioners recognise as mindfulness (Iles-Jonas, 2023).

The term mindfulness refers to the psychological practice of being fully present and engaged in the current moment, aware of thoughts and feelings without judgment. Unlike formal meditation practices that can feel inaccessible or intimidating, beachcombing provides a low-pressure entry point into mindful awareness. The activity requires no prior training, carries no expectations of achievement, and offers immediate sensory rewards.

Image: At the Edge

Photo Credit: Amy Tucker, 2026

Note. Feet stand in moving water as the tide passes around them, marking a moment of arrival and release.

The repetitive nature of walking and bending creates a meditative flow state, as researchers describe it (Neurolaunch, 2025). The body moves rhythmically while the eyes scan softly. The mind quiets. Intrusive thoughts about past failures or future anxieties lose their grip when attention is occupied with the immediate question: Is that a piece of glass? The urgency of ordinary worries dissolves in the face of such simple, present-tense curiosity.

Table 2

Therapeutic Elements of Beachcombing Practice

ElementMechanismHealing Function
Wave soundsPredictable rhythm synchronises with alpha brainwavesNervous system registers safety; hypervigilance decreases
Sea glass colours evoke tranquillity; anxiety reductionSmooth objects stimulate interoceptive awarenessGrounding in body; emotional regulation support
The nervous system registers safety; hypervigilance decreasesSoft-focus attention reduces prefrontal activationInner critic quiets; default mode network activation
Repetitive motionWalking rhythm activates parasympathetic responseBilateral stimulation; somatic processing of stored tension
Discovery rewardVariable reinforcement triggers dopamine releaseSense of accomplishment; counters anhedonia
Colour exposureBlues and greens associated with calm in colour psychologySea glass colours evoke tranquility; anxiety reduction

Note. Mechanisms synthesised from Nichols (2014), Neurolaunch (2025), and Iles-Jonas (2023).

Wabi-Sabi: The Aesthetic Philosophy of Transformed Imperfection

The sea glass I hold teaches what the Japanese have known for centuries. Wabi-sabi, a philosophical and aesthetic concept that emerged from fifteenth-century tea ceremony practice, centres on the acceptance of transience and imperfection. Koren (1994) describes wabi-sabi as an aesthetic that finds beauty in imperfection, impermanence, and incompleteness. This worldview stands in direct opposition to Western ideals that privilege newness, symmetry, and permanence.

Image: Sea Pottery

Photo Credit: Amy Tucker, 2026

Note. Blue pottery gathered together, holding depth, clarity, and the memory of water.

The term wabi originally carried connotations of solitude and life lived close to nature, away from society, but gradually evolved to suggest rustic simplicity, freshness, and quiet contentment. Sabi refers to the beauty that emerges with age, the patina of time and the visible wear that signals use and history (Juniper, 2003). Together, these concepts name an aesthetic sensibility that honours what Western culture often discards.

Sea glass embodies wabi-sabi with remarkable clarity. Once a manufactured object, sharp-edged, uniform, and purpose-made, it has been transformed by time and environment into something more beautiful than its original design. The frosted surface, rounded edges, and softened colours emerging from industrial origins mark a long journey through salt, sand, and continual tumbling. Here, imperfection becomes the source of beauty.

For those healing from trauma, wabi-sabi offers a radical reframe. Emergence from difficult experiences requires no polish, no perfection. Our rough edges, softened by time and held to the light, might reveal their own particular beauty. The cracks and weathering are evidence of survival, of passage through difficult conditions, of transformation that only occurs through endurance.

The Artifact Archive: Objects as Embodied Knowing

The term wabi originally carried connotations of solitude and life lived close to nature, away from society, but gradually evolved to suggest rustic simplicity, freshness, and quiet contentment. Sabi refers to the beauty that emerges with age, the patina of time and the visible wear that signals use and history (Juniper, 2003). Together, these concepts name an aesthetic sensibility that honours what Western culture often discards.

Sea glass embodies wabi-sabi with remarkable clarity. Once a manufactured object, sharp-edged, uniform, and purpose-made, it has been transformed by time and environment into something more beautiful than its original design. The frosted surface, rounded edges, and softened colours emerging from industrial origins mark a long journey through salt, sand, and continual tumbling. Here, imperfection becomes the source of beauty.

Rose and Bingley (as cited in Trauma-Informed Arts research) demonstrate how found objects in creative practice operate as gestural records of place-anchored identity shaped by migration and rupture. The sea glass I collect is far beyond decorative; it is data. Each piece carries information about where I have been, what caught my attention, and what resonated with my internal state on a particular day. Together, the collection maps a healing trajectory that words alone might miss.

Table 3

Artifact Archive: Collected Objects and Their Symbolic Resonance

ArtifactPhysical TransformationMetaphorical Teaching
Sea glassOnce sharp and dangerous, now softened by endless tumblingTime and environment transform rough edges into beauty, safe to hold
DriftwoodDead wood given new life through salt and sunGreenspan’s (2003) alchemy: what appears finished can find renewed purpose
Spiral shellGrowth that moves outward while turning inwardPersonal development requires both expansion and introspection
Smooth stonesOnce jagged rock, worn smooth by constant motionPersistent forces reshape even the hardest materials
Weathered logsTrees that once stood tall, now horizontal, silver-greyRest after striving has its own dignity and beauty

Note. Artifact interpretations drawn from the researcher’s reflexive practice and the wabi-sabi aesthetic framework (Juniper, 2003; Koren, 1994).

Critical Analysis: The Privilege of Creative Solitude

Image: Borrowed Silence

Photo Credit: Amy Tucker, 2026

Note. Wind-bent palms stand between desert and sea at dusk, holding a moment of calm made possible by time, place, and circumstance.

Before this reflection settles into unexamined celebration, critical analysis demands acknowledgment of the structural conditions enabling this practice. The ability to spend mornings beachcombing and afternoons making art requires particular material circumstances: freedom from wage labour during healing, financial resources for retreat accommodation, geographic access to the coastline, and physical mobility to walk and bend. These conditions are available only to some.

Inversion thinking, the practice of examining what an opposite perspective might reveal, asks a necessary question: What does this healing practice look like for those without such privilege? A single parent working multiple jobs cannot take time off in the mornings for beachcombing. A person with mobility limitations may find sandy shorelines difficult to navigate. An inland resident lacks access to the Blue Mind effects along the coast. The practice of creative solitude documented here exists within structures of class, geography, and ability that warrant careful scrutiny.

Image: Childhood Dreams

Photo Credit: Amy Tucker, 2026

Note. A hand-crafted blanket reminds us that care, warmth, and repair have long been created collectively, often under conditions of constraint. Unlike coastal solitude, such forms of making emerge in shared spaces, through necessity as much as choice, offering a counterpoint to individualised narratives of healing shaped by access, time, and privilege. Made by a local artisan.

This acknowledgement leaves the healing potential of art-making and nature engagement fully intact. Rather, it situates individual practice within broader contexts of access and equity. The question then becomes how the principles of flow, tactile engagement, and creative expression might be made available across different life circumstances. Urban community gardens, accessible art spaces, and therapeutic programs designed for shift workers represent efforts to extend what I experience as individual privilege into more collective and inclusive forms of care.

Image: Rock as Record

Photo Credit: Amy Tucker, 2026

Note. Paint layered onto stone becomes a portable site of flow and tactile engagement, suggesting how creative expression can travel beyond coastlines and retreats into shared, accessible spaces of care.

The risk of documenting healing through art and beachcombing is that it becomes another form of lifestyle prescription, another obligation for stressed workers to feel guilty about skipping. My intention is different: to understand what makes this practice healing, then to question how those elements might be adapted, modified, and extended to those whose circumstances differ from my own.

Embodied Practice: Art as Language Before Words

There are things I cannot say in sentences that my hands seem to know how to express. This is the territory of embodied cognition, the understanding that knowledge resides in the body as well as in the mind. When I arrange sea glass by colour, I am sorting more than objects. When I position pieces of driftwood to create negative space, I am composing something my conscious mind has yet to articulate.

Trauma-informed arts research supports this phenomenon. Embodied expression can enable release when verbal recounting feels inaccessible or unsafe (Rose and Bingley, as cited in Sunderland et al., 2022). The body functions as an archive, holding experiences that may resist verbal articulation yet emerge with clarity through creative processes. Movement, texture, colour, and arrangement become languages when words feel insufficient.

The term embodied cognition refers to the theory that cognitive processes are deeply rooted in the body’s interactions with the physical world. Rather than operating solely through abstract mental activity, knowing emerges through sensory engagement, motor action, and bodily awareness. When I hold sea glass to the light, information passes between hand and eye, and something deeper than thought is activated.

Image: Return

Photo Credit: Amy Tucker, 2026

Note. Waves break and recede across dark sand, leaving a thin lace of foam that marks the sea’s ongoing rhythm of arrival and release.

This matters for healing from occupational trauma, which often settles in the body as tension, hypervigilance, and disrupted interoception. Talk therapy, while valuable, sometimes falls short of what the body holds. Creative practice offers an alternative pathway, one that supports processing through action and sensation rather than language alone.

Bricolage: Creating Meaning from What Is Available

The French anthropologist Claude Lévi-Strauss (1966) introduced the concept of bricolage to describe a mode of thinking and creating that works with whatever is at hand rather than seeking specialised materials or tools. The bricoleur, in contrast to the engineer who designs from first principles using purpose-made components, creates a heterogeneous repertoire of odds and ends from available fragments.

The term bricolage (from the French bricoler, to tinker) refers to the construction or creation of something from a diverse range of available things. In the context of healing practice, bricolage becomes a metaphor for working with what life has provided rather than lamenting what is absent. The sea glass was once waste. The driftwood was once a living tree. The shells housed creatures now gone. From these remnants, something new emerges.

This philosophy extends beyond physical art-making to the reconstruction of self after trauma. Healing asks us to become something new rather than who we were before. We heal by gathering the fragments of experience, the lessons learned, the strengths discovered, the perspectives shifted, and assembling them into something new. The bricoleur grieves no absence of ideal materials; she works with what the tide has brought in.

Notable observations: The combination of outdoor movement followed by indoor creative activity created a natural rhythm that felt restorative. Beachcombing functioned as a transition, leaving the casita’s contained space for the expansive shore and then returning with gathered materials to work with the hands. This ritual of going out and coming back mirrors an essential aspect of the psyche’s need for both exploration and return.

Image: Nature’s Art

Photo Credit: Amy Tucker, 2026

Note. Small white flowers bloom at the base of a tree, emerging from dry, compacted ground through persistence rather than abundance.

Evening Reflection: Finding the Language Before Words

Image: Evening Light

Photo Credit: Amy Tucker, 2026

Note. As light shifts toward evening, the same objects appear transformed. Illumination changes perception, offering a final teaching on how meaning emerges through context rather than alteration.

As the light shifts over the water, I sit with my arrangement of found objects. The meaning remains open, and that feels right. For much of my life, meaning was something I produced on demand: reports, analyses, frameworks, recommendations. The occupational world trained me to know what I was making before I made it, to articulate purpose before taking action.

Art asks something different. It asks me to begin without knowing the end. To trust that sense will emerge through the doing. To believe that my hands might hold knowledge, my mind has yet to find its words.

The sea glass catches the evening light differently now, more amber, more gold. The objects remain the same, yet they appear transformed by a change in illumination. This, too, is a teaching. What reveals itself one way in the clarity of morning may disclose other dimensions in the softness of evening. The object holds steady; the light changes, and with it, perception.

El arte habla cuando las palabras fallan. Art speaks when words fail.

This is what Day 19 offered: a different language for knowing, one that works alongside words rather than replacing them, as this written reflection exists alongside the created arrangement, but an addition. A parallel stream of meaning-making. A reminder that healing unfolds through multiple channels, and that the body and its creative capacities hold wisdom the mind may take years to articulate.

What I will make from these gathered objects remains open. Perhaps that unknowing is itself the gift.

References

Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.

Csikszentmihalyi, M. (1997). Creativity: Flow and the psychology of discovery and invention. HarperCollins.

Dietrich, A. (2004). Neurocognitive mechanisms underlying the experience of flow. Consciousness and Cognition, 13(4), 746–761. https://doi.org/10.1016/j.concog.2004.07.002

Greenspan, M. (2003). Healing through the dark emotions: The wisdom of grief, fear, and despair. Shambhala.

Iles-Jonas, R. (2023, February 3). Beachcombing: Body, mind, soul. Beachcombing Magazine. https://www.beachcombingmagazine.com/blogs/news/beachcombing-body-mind-soul

Juniper, A. (2003). Wabi sabi: The Japanese art of impermanence. Tuttle Publishing.

Koren, L. (1994). Wabi-sabi for artists, designers, poets & philosophers. Stone Bridge Press.

Lévi-Strauss, C. (1966). The savage mind. University of Chicago Press.

Nichols, W. J. (2014). Blue mind: The surprising science that shows how being near, in, on, or under water can make you happier, healthier, more connected, and better at what you do. Little, Brown and Company.

Perez, V., Alexander, D. D., & Bailey, W. H. (2013). Air ions and mood outcomes: A review and meta-analysis. BMC Psychiatry, 13, Article 29. https://doi.org/10.1186/1471-244X-13-29

Saito, Y. (1997). The Japanese aesthetics of imperfection and insufficiency. The Journal of Aesthetics and Art Criticism, 55(4), 377–385. https://doi.org/10.2307/430925

Parkes, G., & Loughnane, A. (2023). Japanese aesthetics. In E. N. Zalta & U. Nodelman (Eds.), The Stanford Encyclopedia of Philosophy (Winter 2023 ed.). https://plato.stanford.edu/entries/japanese-aesthetics/

Rankanen, M., Leinikka, M., Groth, C., Seitamaa-Hakkarainen, P., Mäkelä, M., & Huotilainen, M. (2022). Physiological measurements and emotional experiences of drawing and clay forming. The Arts in Psychotherapy, 79, Article 101899. https://doi.org/10.1016/j.aip.2022.101899

White, M. P., Elliott, L. R., Grellier, J., Economou, T., Bell, S., Bratman, G. N., Cirach, M., Gascon, M., Lima, M. L., Lõhmus, M., Nieuwenhuijsen, M., Ojala, A., Roiko, A., Schultz, P. W., van den Bosch, M., & Fleming, L. E. (2021). Associations between green/blue spaces and mental health across 18 countries. Scientific Reports, 11(1), Article 8903. https://doi.org/10.1038/s41598-021-87675-0


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.

Poem: What the Walls Remember


How do I love myself
when everyone else
taught me to withhold it?

Layered Histories

Photo Credit: Amy Tucker, 2026

The house remembers
What no one else did.

The sharpness of screams
caught in the drywall,
the broomstick’s shadow
stretching too long
across the kitchen tile.

Glass breaking,
again and again,
until silence learned
to brace itself.

inhale
The closet lock clicked shut.
hold
The darkness welcomed me like routine.
exhale
Stillness was my only shield.

Words thrown harder
than hands.
Worthless.
Useless.
Piece of…

(I refuse to repeat them.
I refuse to belong to them.)

I became so small
I forgot I was still breathing.
I folded myself
behind chairs,
beneath beds,
inside my own skin.

inhale
Is this love?
hold
Why does love feel like danger?
exhale
Why does kindness now
make me flinch?

They taught me
I was unlovable.
That my body was wrong,
my voice too loud,
my being too much.

So tell me:
How do I love myself
when everyone else
taught me to withhold it?

Still,
I remember
because my body does.
Beyond revenge,
returning
to the girl who survived
and wind in her lungs.

She breathed
through fear.
She whispered
through fists.
She lived
when no one wanted her to.

She is still here.
And maybe,
just maybe,
She is worthy
of the love
They never gave.

Return to the Girl Who Survived

Photo Credit: Amy Tucker, 2026

Part 2: The Geography of Fear: The Ball in My Stomach

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

Translation note. Spanish-language text in this post was translated into English using Google Translate and reviewed by the author. Translations are intended to convey general meaning rather than certified linguistic precision.


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

But what about when the body remembers everything? When the danger was less a single event than the air you breathed for years?

The Constant Companion

What the Walls Remember

Photo Credit: Amy Tucker, 2026

I am trying to describe a sensation that lived in my body from my earliest memories until approximately age twelve. It sat in my stomach, this tight ball of readiness. Almost nausea, though sometimes it tipped that way. Almost pain, though it ached.

It was the feeling of waiting. Esperando. Always waiting.

Waiting for the sound that would tell me whether this evening would be safe.

The sound was the truck engine. My father’s truck is pulling in at the end of the day. And before I even consciously registered the sound, my body knew. The particular rhythm of his footsteps as he walked from the garage into the house told me everything I needed to know. Heavy, deliberate steps meant danger. Lighter, quicker steps might mean safety, though there were no guarantees.

The ball in my stomach would tighten. My breathing would change without my choosing to. I was listening with my whole body, my whole being rather than just my ears.

Here is what I have learned from the trauma neuroscience I read in Part 1: this lay beyond clinical anxiety. This was neuroception. My autonomic nervous system is reading environmental cues for danger beneath my conscious awareness, exactly as it was designed to do. The problem was that it was designed for occasional threats, never the chronic kind, never for years of this.

By the time I heard the garage door, I had already assessed multiple variables without thinking about it. What day of the week was it? Fridays were more dangerous because he stopped at the bar on the way home. How late was he? Later meant more drinking. Did my mother seem tense at dinner? Her tension meant she had already sensed something I had yet to detect. Was my younger sister being too loud? Noise drew attention, and attention was dangerous.

The youngest was seven years younger than me, still small enough that sometimes she cried in ways I was unable to quiet. This terrified me more than my own danger. My hypervigilance extended far beyond myself. I was responsible for them, too.

Reading the Air

Atmosphere Before the Storm

Photo Credit: Amy Tucker, 2026

I developed what I can only describe as a hyperawareness of atmospheres. I could feel the charge in the air before anything visible changed. My mother’s shoulders would tighten in a particular way. The house itself seemed to hold its breath.

By age eight or nine, I had become fluent in the language of approaching violence. I could read micro-expressions. I could detect shifts in vocal tone that signalled danger was escalating. I could calculate the precise degree of door-closing force that indicated anger.

These were skills no child should need to develop. But I was brilliant at them. I had to be.

The worst moments came before violence actually occurred. The worst moments were the hours of waiting, the ball in my stomach wound so tight I thought it might tear something open. During these hours, every small sound required assessment. Was that his chair scraping against the floor? His glass was set down hard on the counter. Is the refrigerator door closing with force?

Each sound was data. Each piece of data helped me calculate the probability of eruption.

During these hours of waiting, I strategised. Where were my sisters? If something happened, could I get to them? Were there obstacles between me and their rooms? I mapped the house in my mind like a battlefield, planning routes and refuges.

What Survived

The Geography of Hiding

The house had its own geography of fear. Certain rooms were more dangerous than others.

The kitchen, where he drank after work, where the counter held the evidence of how many bottles had been opened. I learned to count them without appearing to count them. One bottle was manageable. Two meant higher risk. Three or more meant I needed to get my sisters to their rooms and keep them there.

The living room, where he sat in his chair and called us to him. Sometimes these summons were benign. Sometimes they were otherwise. I learned to read the kind from the quality of his voice when he said my name.

The hallway between my room and my baby sisters’ rooms felt impossibly long and exposed. I had to cross it to reach them if they needed me, and crossing it meant being visible, being available to be called, being vulnerable.

I learned to move through the house silently. I learned which floorboards creaked. Which doors squeaked? How to open cabinets without sound. I learned to exist without creating disturbance, to breathe so shallowly that even my breath would remain undetectable.

This skill, this ability to minimise my presence, to make myself unnoticeable, would follow me for decades. Would manifest in adult relationships as difficulty taking up space. As apologising for existing. As constantly making myself smaller to accommodate others’ needs.

But in childhood, this skill kept me safer than I would otherwise have been. Which is far from safe. There was no safety. There were only degrees of threat, gradations of danger that I learned to navigate with the precision of a cartographer mapping treacherous terrain.

The Sound of My Name

Voice Like a Weapon

Sometimes my father called my name.

Even now, five decades later, sitting in Loreto with the sound of the sea outside my window, I can feel my body’s response to that memory. My heart accelerates slightly. My vision narrows at the edges. The ball in my stomach clenches.

This is what van der Kolk (2014) means when he writes about how the body keeps the score. The original threat is gone. My father is long dead. But my nervous system still responds as if the danger were present.

In childhood, the sound of my name in his voice when he had been drinking produced a physical response I had no control over. My heart would accelerate. My vision would narrow. The ball in my stomach would clench. I would freeze, completely still, as if holding utterly still might make me invisible.

But I had to answer. Silence was worse. I would force my legs to move, force my voice to work, force my face into neutrality. The walk down the hallway to wherever he was calling from felt like walking to execution. Caminar hacia el miedo. Walking toward fear.

“Did you do this?”

His voice, accusing.

I remained without understanding of what “this” was. A glass was left on the counter. A door left ajar. A light was left on. The television is too loud. The offence varied and often made no logical sense. But the pattern was always the same: I was accused of something I had left undone, something I would never do because I was so careful, so hypervigilant about never creating any reason for attention, for anger, for danger.

“No,” I would say, my voice small.

This was true. I had done nothing of what he was accusing me of doing. But truth had no protective power.

When Reality Breaks

I wrote in Part 1 about Freyd’s (2008) concept of betrayal trauma, how, when those who should protect us instead harm us, 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.

This is what those moments of false accusation did. They broke something deeper than the fear of punishment.

The moment would stretch. He would decide whether to believe me. Sometimes he did. Sometimes he refused. When he refused to believe me, when he insisted I was lying even though I was telling the truth, something fractured inside me each time.

I knew with certainty that I had done nothing he accused me of. I knew it with absolute certainty. But his version of reality had power over mine. His insistence that I was guilty could override my knowledge of my own innocence.

This is epistemic violence. The assault on a child’s capacity to know what they know.

I am still, decades later, unlearning this. Still working to trust my own perceptions. Still catching myself doubting what I know to be true when someone else insists on a different version of events.

The Leaving

Underwater Silence

During these moments of accusation, of being blamed for things left undone, I would split. Some part of me would go away to a place where his words could find no purchase.

My face would remain neutral. My body would stand still. But I had barely remained there.

Years later, I learned this is called dissociation. A survival strategy my nervous system deployed to protect me from unbearable psychological pain. Fisher (2017) writes about structural dissociation, the fragmentation of the personality into parts that carry different survival strategies. In the moment, I only knew that crying was forbidden, that defending myself too vigorously was forbidden, that showing fear was forbidden.

Any emotional response increases danger.

Where did I go when I left? The answer remains beyond me. It was less a conscious choice than an automatic response, my body’s wisdom protecting me in the only way available when fight or flight were both impossible.

I existed in some internal space that felt grey and distant, muffled, as if I were underwater, with the sounds reaching me from far away. This internal refuge kept me functioning, but at a cost. I lost pieces of my experience. Unable to fully remember what happened during these dissociated moments. Carried gaps in my memory that would later make me doubt whether events occurred as I recalled them.

This fragmentation, this sense that parts of me exist in different places, holding different pieces of the experience, has never entirely healed. I recognise it even now when stress triggers those same dissociative responses. The going away. The watching myself from a distance. The sense that I am barely inhabiting my body.

The Weight of Protection

I tried to absorb her fear into my own body,
to create a buffer between her and the violence.
Even now, some part of me keeps scanning for their safety.

Still Holding

Photo Credit: Amy Tucker, 2026

After these confrontations, after he had yelled or grabbed or made his point through whatever means he chose, I would go to check on my sisters.

My younger sister, only one year younger than me, had often heard everything through the walls. I would find her frozen in her bed, eyes wide, her own body locked in the same sympathetic activation that gripped mine.

“It is okay,” I would tell her, though we both understood it was far from true.

“He is calmer now.” Ya pasó. It has passed.

Though we both knew it had barely passed. That it would come again. That this was merely an intermission.

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

The youngest, still small, often slept through these episodes. When she woke, confused by the atmosphere, by the tension that lingered in the house like smoke, I would make up reasons. “Dad was just talking loudly about work.” Anything to preserve her innocence a little longer, though I suspected she absorbed the fear even when she lacked conscious understanding of its source.

Babies know. Children know. Bodies know what minds try to deny.

I wrote in Part 1 about Jurkovic’s (1997) work on parentification, the way children who become caregivers for their siblings carry consequences into adulthood. Difficulty accepting care. Persistent sense of responsibility for others’ emotional states. Compromised capacity to recognise their own needs.

Most relevant for this alonetude project: the way parentified children struggle with solitude because rest feels like a dereliction of duty. Their nervous systems learned early that constant vigilance is required as much for protection of others as for the self for the protection of others.

Even here in Loreto, alone by choice, with my sisters safe in their own adult lives, some part of me keeps scanning for their safety. Keeps wondering if I should check in. The hypervigilance that served us then persists decades after we no longer need it.

The Vigil

The Edge of Rest

Photo Credit: Amy Tucker, 2026

I would lie awake long after the house had gone silent. My body refused sleep because sleep meant vulnerability, meant I might miss the return of danger.

The hypervigilance that kept me alert all day persisted through the night rather than releasing. Instead, it intensified in the dark. Every small sound required assessment. The house is settling. The refrigerator is cycling on. A mine whistle is blowing at the end of the shift.

Each sound had to be categorised as normal or threatening. Safe or dangerous? Requiring response or allowing rest.

But rest never truly came.

Tomorrow I would move through school in a fog of exhaustion, but I had become skilled at hiding this, too. Appearing normal. At performing the role of a child who was fine when everything inside me was wound tight as a wire.

Teachers remained unseeing, or if they noticed, they remained silent. This was the early 1970s. People avoided speaking of such things. Families were private. What happened in homes stayed in homes.

I learned to carry my fear silently, to show no external evidence of the constant internal vigilance.

The Normalization of Terror

This is every memory combined. This is hundreds of memories, thousands of moments of fear spread across seven years. This is the texture of my childhood, the baseline state against which any moments of safety appeared as aberrations.

The ball in my stomach became so constant that I forgot there had ever been a time when I had ever been free of it. It became my normal, the lens through which I perceived the entire world: dangerous, unpredictable, requiring constant vigilance.

Even in moments that should have been safe, at school, during rare family outings when my father was sober, visiting friends’ houses, the fear persisted. My nervous system resisted recalibration even when external circumstances temporarily improved.

Porges (2011) writes about how the nervous system, once calibrated to constant threat, cannot easily recalibrate to safety. Safety feels temporary. Fragile. A gift that can be revoked at any moment.

This is what I carry still. This sense that safety is a state beyond my trusting but rather a temporary condition that requires its own kind of vigilance. That letting my guard down means disaster. That rest is dangerous.

What the Body Remembers

What the Body Keeps

Vigilance Without Threat

What lay beyond my understanding then but is clear to me now through trauma neuroscience is that my body was accurately responding to chronic threat by remaining in a state of mobilised defence. The hypervigilance was entirely rational. It was a rational 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 constantly monitor for threats that no longer exist.

The ball in my stomach. The scanning for danger. The inability to rest. The sense that solitude is dangerous rather than restorative.

These are accurate indicators, rather than failures of healing. They are accurate indicators of how deeply fear became inscribed in my body during formative years.

This is why I am here in Loreto. Why I am attempting to give my nervous system sustained exposure to genuine safety. Why I am practicing, every day, the radical act of rest.

But the body resists unlearning what it learned during the years when the personality itself was forming. The vigilance persists. The ball in my stomach still activates under stress. The sound of heavy footsteps still makes my shoulders rise.

And yet.

There are moments here, in the early morning light, when the pelicans glide past my window, when the ball in my stomach unclenches slightly. When my breath deepens a fraction. When rest feels possible, even if only for a moment.

These are the victories I am learning to recognise. Beyond the dramatic transformation I once hoped for, but the small, incremental shifts. The brief moments when my nervous system registers safety. When the vigilance softens. When I can simply be.

Even the body needs a point of reunion

What Comes Next

In Part 3, I will examine what these childhood adaptations mean for adult life. How hypervigilance shapes capacity for solitude. Why my thirty-day retreat in Loreto represents an attempt to finally teach my nervous system that rest is permitted. How alonetude offers refuge rather than threat.

The vignette has shown the wound. The analysis will show the path toward healing.

When I can simply be.

References

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.

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

Porges, S. W. (2011). The polyvagal theory: Neurophysiological foundations of emotions, attachment, communication, and self-regulation. W. W. Norton & Company.

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

Poem: Who Knows

A short poem: Who Knows, on uncertainty, the sea, and the particular freedom that comes from letting the question remain open. Written from a moment of stillness beside the water in Loreto.

“I am still here, even when my body expects me to disappear.”

I did not
mean to exist
so loudly.

You did
Say I made it up,
the way the floor creaked,
The glass shattered,
The night bent sideways.

Image: Fractured Evidence

Photo Credit: Amy Tucker, 2026

Note. Sea glass gathered from low tide: fragments shaped by impact, time, and dispute.

Who knows
what happened
when truth
Became optional?

I remembered.
You rewrote.
The story shifted,
word by word,
until even silence
sounded suspicious.

Who knows
which silence
screamed first?

Image: The Shadow Wears My Shoes (I am still here)

Photo Credit: Amy Tucker, 2026

Notation: I included this image to remind myself that I am still here, even when my nervous system expects otherwise.

Part 1: The Geography of Fear (Ball in My Tummy)

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

This is Part 1 of a 3-part series exploring childhood hypervigilance and the journey toward healing through solitude. This series draws from my Creative Master’s thesis on alonetude: intentional, embodied solitude as healing practice.

“This is a memory of a way of being, rather than a memory of something that happened.”


I am trying to write about fear. Beyond the kind that arrives and then leaves, beyond the sharp spike of adrenaline when something startles you, but the other kind. The kind that becomes the water you swim in. The kind that becomes so constant you forget you are afraid at all.

Van der Kolk (2014) writes about trauma as an enduring imprint on mind, brain, and body, something that continues shaping how we navigate the present long after the original event has passed (p. 21). But what happens when there is no single event to point to? What happens when the entire landscape of childhood is the event?

When Fear Has No Beginning

Image: Early Atmosphere

Photo Credit: Amy Tucker, 2026

There are childhood memories I can pull out like photographs, discrete and framed. The time I fell off my bike. My eighth birthday party. The day we got our dog.

And then there are the other memories. The ones that exist as atmospheres rather than moments. As textures. As the constant hum underneath everything else.

From approximately age three to twelve, I lived inside a particular sensation. It sat in my stomach, a tight ball of readiness. This is a memory of a way of being, rather than any single event that happened. A state I inhabited the way other children might have inhabited safety or joy or the simple pleasure of coming home from school.

My father’s alcoholism and violence made our home a place where I learned to calibrate my entire nervous system to threat. Where I learned to read micro-expressions the way other children learned to read books. Where I learned to map escape routes through rooms, the way other children might have mapped their way to the playground.

I am writing this now from Loreto, Mexico, thirty days by myself in a casita by the sea, trying to understand why solitude feels so dangerous. Why rest feels like a dereliction of duty. Why does my body still, five decades later, refuse to believe that it is safe?

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

The Neuroscience I Needed to Understand

I came to the trauma literature looking for a map. Looking for some way to make sense of why, at fifty-something years old, my shoulders still rise toward my ears when I hear heavy footsteps. Why does my breath still catch at the sound of a door closing with force? Why does being alone with my own thoughts feel more dangerous than being in a crowd?

What I found changed how I understand my childhood, and the body I still carry through the world.

The threat is the baseline. Safety, when it occurs, feels like an aberration.

When Trauma Shapes the Personality Itself

Herman (1992) introduced the concept of complex post-traumatic stress disorder to name what happens when trauma extends beyond any single terrible event into a chronic condition of childhood. She makes a distinction that stopped me cold when I first read it: repeated trauma in adult life erodes the structure of an already-formed personality. But repeated trauma in childhood? That shapes and deforms the personality as it develops.

I had to sit with that for a long time.

Single-incident trauma, devastating as it is, happens against a backdrop of what came before. The person remembers what safe felt like. The nervous system has a baseline to which it can potentially return.

But for those of us who grew up in homes where violence was the organising principle of daily life? We have no safe baseline. The threat is the baseline. Safety, when it occurs, feels like an aberration.

This matters for understanding why solitude feels dangerous to me now. My nervous system was calibrated during its most formative years to expect threat. It learned early that vigilance is required for survival. And when that learning happens during the years when the personality itself is forming, it goes deeper than sitting on top of the self. It becomes the foundation of the self.

How Your Nervous System Learns the World

A neuroscientist I am far from, but I have spent years trying to understand what Stephen Porges (2011) calls Polyvagal Theory because it finally gave me language for what I carry in my body.

Image: The Neuroscience I Needed

Photo Credit: Amy Tucker, 2026

Porges describes three systems in the autonomic nervous system, organised hierarchically:

The ventral vagal system supports what he calls social engagement. It is the system that allows you to feel safe, to connect with others, to rest. When this system is online, your face is mobile, your voice has prosody, and you can take in information without constant threat assessment.

The sympathetic nervous system mobilises the fight-or-flight response. This is the system that floods you with adrenaline, that makes your heart race, that prepares your body to defend itself or run.

The dorsal vagal system produces freeze, collapse, and shutdown. This is the oldest system, the one that takes over when fight or flight are both impossible. When you cannot escape and cannot defeat the threat, this system makes you disappear inside yourself.

In safe environments, Porges (2011) explains, the nervous system moves flexibly between these states as situations require. You can engage socially when appropriate, mobilise when needed, and return to calm.

But in chronically threatening environments, the system becomes biased toward defensive states. The part of you that should be able to rest and connect gets chronically inhibited. Your body learns that the world requires constant defence.

For children in violent homes, this means the nervous system rarely experiences the kind of regulation that comes from safe, attuned relationships. Van der Kolk (2014) writes about how traumatised individuals carry fundamentally different bodily experiences than those who have felt safe and welcome in the world.

I think about this often here in Loreto. About how my body learned early that the world held no safety. About how that learning lives in my nervous system, deeper than thought. About how no amount of cognitive understanding that I am safe now can simply overwrite what my body knows.

Image: Relearning Rest

Photo Credit: Amy Tucker, 2026

When Survival Requires Fragmentation

Janina Fisher (2017) writes about something she calls structural dissociation. The way chronic threat fragments the personality into parts that carry different survival strategies.

Image: Structural Dissociation

Photo Credit: Amy Tucker, 2026

Survival Intelligence

Children develop what she describes as trauma-related action systems: fight, flight, freeze, submit, attach, and cry for help. Each is associated with specific bodily states. Each is a different way of trying to survive.

Image: Intelligent Adaptations

Photo Credit: Amy Tucker, 2026

I recognise all of these in myself. The part that freezes when someone raises their voice. The part that apologises compulsively for taking up space. The part that scans every room for exits. The part that overexplains, trying to prevent misunderstandings before they happen.

These are adaptations, beyond pathologies. They are intelligent adaptations. They kept me alive.

The problem is that they persist decades after the threat has ended.

Hypervigilance as Intelligent Adaptation

Hypervigilance as Adaptation

Photo Credit: Amy Tucker, 2026

Van der Kolk (2014) characterises hypervigilance as the persistent expectation of danger that keeps the body in a state of high alert. Courtois (2008) calls it anticipatory anxiety, the constant scanning of environments, the monitoring of adult moods, the perpetual effort to predict and potentially avoid danger.

I need to say this clearly: hypervigilance is clarity under threat. Beyond pathology. Beyond dysfunction. Beyond weakness.

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. Far from malfunctioning.

I was brilliant at survival. By age eight, I could assess a room in seconds. Could tell you from the sound of footsteps whether this evening would be safe. Could make myself small enough, quiet enough, invisible enough to avoid attention.

Image: Survival Intelligence

Photo Credit: Amy Tucker, 2026

This intelligence saved my life.

But intelligence calibrated to perpetual threat recalibrates to safety only slowly. My nervous system still signals danger in contexts where there is none. Still prepares for threats that no longer exist. Still cannot quite believe that rest is permitted.

When Those Who Should Protect You Betray Reality Itself

Freyd (2008) writes about betrayal trauma, what happens when those we depend upon for survival violate our trust (pp. 76–77). But she is writing about something deeper than mere trust violation. She is writing about the violation of reality itself.

I remember being accused of things I had never done. Small things, meaningless things, a glass left on the counter, a light left on. But the accusation came with absolute certainty. My father’s insistence that I was lying when I was telling the truth.

The terror was beyond punishment, though punishment was real. The terror was about the understanding that reality itself could be overwritten. That my knowing what was true offered no protection. That I could be blamed at will, simply because someone with power over me decided I was guilty.

Image: When Reality Fractures

Photo Credit: Amy Tucker, 2026

For children, this creates what Freyd (2008) calls a double bind. The child knows the truth. But the parents’ power requires submission to the false narrative. And that submission? It ruptures something fundamental about the child’s sense of reality and worth.

When parents harm and also 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.

I am still, decades later, unlearning the habit of doubting my own perceptions. Still working to trust my judgment. Still catching myself deferring to others’ interpretations of events, even when I have clear evidence of their inaccuracy.

“The threat is the baseline. Safety, when it occurs, feels like an aberration.”

When Children Have to Become Parents

Minuchin (1974) described parentification as a developmental distortion in which children assume caretaking roles beyond their capacity. Jurkovic (1997) distinguishes between adaptive parentification (helping with household tasks during a temporary crisis) and destructive parentification (providing ongoing emotional regulation to family members in chronically dysfunctional systems).

I was the oldest. Seven years older than my youngest sister. I learned early that my vigilance needed to extend beyond my own safety. I needed to monitor whether I was in danger, and whether they were. I needed to comfort, to protect, to absorb their fear into my own already-overloaded nervous system.

Image: Carrying More Than One Nervous System

Photo Credit: Amy Tucker, 2026

Jurkovic (1997) writes about the consequences: difficulty accepting care from others in adulthood, a persistent sense of responsibility for others’ emotional states, and a compromised capacity to recognise one’s own needs, as well as what he calls premature identity closure, when children define themselves primarily through their caretaking role rather than developing authentic selfhood.

And this: parentified children often struggle with solitude because their nervous systems learned early that constant vigilance extends beyond self-protection to the protection of others.

“This is a memory of a way of being, rather than a memory of something that happened.”

Image: Staying With What Is

Photo Credit: Amy Tucker, 2026

Rest feels like a dereliction of duty. Solitude feels like abandonment of the post.

This is why I am here in Loreto. Why I am trying, for thirty days, to teach my nervous system that rest is permitted. That Vigilance for anyone else’s safety can rest here. That solitude can be restorative rather than dangerous.

But I am getting ahead of myself.

Image: Stairway to Heaven

Photo Credit: Amy Tucker, 2026

References

Courtois, C. A. (2008). Complex trauma, complex reactions: Assessment and treatment. Psychological Trauma: Theory, Research, Practice, and PolicyS(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.

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

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

Porges, S. W. (2011). The polyvagal theory: Neurophysiological foundations of emotions, attachment, communication, and self-regulation. W. W. Norton & Company.

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

Here rests vigilance, laid down with care.

Day 18: The Book That Taught Me to Listen to My Body

Content Warning: This post contains reflections on trauma, childhood experiences, and the body’s memory of harm. Please care for yourself as you read, and feel free to step away if you need to.

I brought one book with me to Loreto that I have already read three times.

The Body Keeps the Score sits on the nightstand, spine cracked, pages soft from handling. I rarely open it anymore. I have no need to. The words have moved from page to practice. But having it nearby feels important, the way certain objects become witnesses to our becoming.

How I Found This Book

I found van der Kolk’s book during a period when I was without words for what was wrong.

I was beyond crisis, technically. I was functioning. Teaching my classes, meeting my deadlines, and showing up where I was supposed to show up. But something had gone quiet inside me. Joy arrived less often and stayed for shorter periods. Sleep fractured into segments of vigilance. My shoulders had taken up permanent residence somewhere near my ears.

I thought this was just adulthood. Just the weight of a demanding career. Just what happens when you have been working contract to contract for twenty-five years, never quite sure if next semester will hold a place for you.

Then I read this sentence: “Traumatised people chronically feel unsafe inside their bodies” (van der Kolk, 2014, p. 97).

I put the book down. I looked at my hands. I noticed, for the first time in years, how tightly I was holding my own fingers.

What I Learned About the Score

van der Kolk’s title comes from a simple observation: the body remembers what the mind tries to forget.

Every time we brace against difficulty, the body records it. Every moment of feeling unsafe, unvalued, and uncertain. Every adaptation we make to survive environments that ask too much and offer too little. The body keeps a running tally. A score.

I started noticing my own score.

The way my jaw clenched during work emails. The shallow breathing that never quite reached my belly. The startle response when my phone buzzed unexpectedly. The difficulty relaxing even when nothing was wrong, especially when nothing was wrong, because the absence of an obvious threat had become its own kind of suspicion.

These were quiet symptoms, far from dramatic. They were ordinary. That was the problem. I had normalised a state of chronic bracing, and my body had been keeping score the whole time.

The Part That Changed Everything

The part of van der Kolk’s book that changed everything for me was his distinction between knowing and feeling.

He explains that you can intellectually understand that you are safe. You can know that the difficult period is over, that the threat has passed, that you survived. But your body may hold a different story. The alarm system operates below the level of language. It remains beyond rational argument.

This explained so much.

I understood that precarious employment was just a system, never a personal failing. I understood that institutional instability had nothing to do with me personally. I understood all of this. But my body still braced every time I checked my email. My nervous system still treated uncertainty as danger, even when my mind knew better.

van der Kolk argues that insight alone falls short. You cannot think your way out of a body that has learned to be afraid. You have to give the body new experiences. You have to teach the nervous system, through repetition and patience, that safety is possible.

This is why I came to Loreto.

Learning the Body’s Language

One of the most useful things van der Kolk taught me is a word: interoception.

It means awareness of internal bodily sensations. The ability to notice what is happening inside you, to feel your own interior landscape.

I thought I had this. I was wrong.

When I first tried to check in with my body, I got nothing. Fine. Normal. Whatever. The channel was full of static. Decades of pushing through had taught me to override bodily signals rather than listen to them. I had become fluent in ignoring myself.

Here in Loreto, I have been practising. Every morning and evening, I sit quietly and ask simple questions. Where is there tension? What is my breath doing? What does my belly feel like today?

At first, the answers were vague. But slowly, the body has started to speak more clearly.

Tight behind the eyes today. Jaw softer than yesterday. A pulling sensation in my chest that might be grief, or might be longing, or might be something still awaiting a name.

This is what van der Kolk means when he says interoception is the foundation of agency. You cannot respond to what you cannot feel. You cannot change what you cannot notice. The first step in any different direction is simply knowing where you are.

Why the Sea of Cortez

van der Kolk writes about what actually calms a nervous system that has learned to be afraid: rhythm, breath, movement, and environmental cues of safety.

I had no full understanding of why I needed the sea until I read those words.

The waves arrive and recede with a regularity that teaches something below language. The body learns, through repetition, that things have beginnings and endings. That which rises also falls. That the next moment will come, and the one after that.

Swimming requires attention to breath in a way ordinary life rarely demands. I cannot swim and hold my breath due to anxiety. The water demands exhalation. It teaches my body what my mind has been trying to explain for years: you can let go, and the water will hold you.

Walking the shoreline is movement without a destination. No goal except the next step. No metric except presence. The body moves, and the mind follows, rather than the other way around.

And the wideness of the horizon, the warmth of the air, the predictability of light on water, these tell the ancient parts of my brain that right now, in this moment, I am safe.

This is what van der Kolk calls bottom-up healing. Beyond thinking my way to safety, feeling my way there. Giving my body experiences that contradict the score it has been keeping.

The Hardest Part

The hardest part of van der Kolk’s book, for me, was accepting that healing takes time.

I wanted a solution. A technique. Something I could implement and complete. But he describes recovery as a process of slowly, gently, teaching the body that the past is past. Beyond insight, through experience. Again and again, until the nervous system begins to trust.

This is why thirty days.

Thirty days will fix nothing entirely. But because thirty days of waking in the same safe room, of walking the same peaceful shore, of breathing the same salt air might begin to shift something. The body needs repetition. It needs evidence. It needs proof that safety can be sustained.

I am here to practice healing, beyond achieving it. I am here to practice it.

What My Body Is Saying Now

This morning, I noticed something new.

I woke without the usual surge of anxiety. No immediate reach for my phone. No mental inventory of what might have gone wrong overnight. Just the sound of waves and the pale light of early morning and my own body, breathing.

My shoulders were down. Beyond any deliberate memory to relax them, simply because they had relaxed on their own.

I lay there for a long time, feeling the strangeness of it. This is what van der Kolk means by the nervous system learning safety. Beyond thought. A state. Something the body does when it finally believes what the mind has been saying.

It held briefly. By afternoon, I had found new tensions to carry. But it happened. The body is learning.

Sea Glass

I have been collecting sea glass on my walks.

Each piece started as something broken. A bottle shattered against rocks. A jar that shattered on the journey. Sharp edges that could cut.

Time and salt transformed them. The tumbling softened what was dangerous. The constant motion wore away the sharpness until what remains is smooth, frosted, and safe to hold.

van der Kolk writes about neuroplasticity, the brain’s capacity to be reshaped by experience. The nervous system that learned fear can also learn safety. The braced body can also soften.

Sea glass carries its history of being broken. The frosted surface carries evidence of its history. But it is no longer dangerous. It has been changed by the environment in which it is held.

I think about this every time I pick up a piece of green or blue or amber glass from the sand. I think: this is what I am doing here. Being tumbled. Being smoothed. Beyond forgetting: transforming.

For Anyone Whose Body Is Keeping Score

If you are reading this, maybe your body is keeping score too.

Maybe you call it something else. Maybe it is just stress, difficulty, the ordinary accumulation of a hard life. But if your shoulders live near your ears and your sleep fractures into vigilance and your capacity for joy has narrowed into something you can barely remember, van der Kolk’s book might matter to you.

Here’s what I want you to know, from eighteen days into this experiment:

Your body’s responses are adaptations, never weakness. They are adaptations. They helped you survive something. The challenge lies in having developed them. The deeper challenge is that you may no longer need them, but they are still running.

Healing happens through the body. Understanding why you feel the way you feel is valuable. But the nervous system needs new experiences, beyond new insights alone. It needs to feel safe, to experience safety in the body rather than merely know it.

Time and salt transform things. Healing follows its own schedule, never ours. But the body that has been keeping a difficult score can learn to keep a different one.

This Evening

The sun is setting over the Sea of Cortez. The water has turned gold, then copper, then something darker, nameless.

I am sitting on the balcony with van der Kolk’s book beside me, unopened. Reading it feels unnecessary tonight. The words have become practice. The practice has become this: sitting here, watching light change, noticing that my breath is slow, my shoulders are down, and my body, for this moment, is open, released from bracing.

The score is changing.

Slowly. Imperfectly. But changing.

References

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

Academic Lens

Van der Kolk's The Body Keeps the Score (2014) functions here as both a text and a mirror — the reader recognising their own nervous system's history in clinical language for perhaps the first time. This is an instance of what Fricker (2007) calls the restoration of hermeneutical justice: being given the conceptual resources to understand one's own experience, after a period in which those resources were absent. The learning described here is somatic as well as intellectual: the body responds to being correctly named.

Day 17: Lo Que Llega Cuando Estás Lista

What Arrives When You Are Ready

Can You See Me?

Photo Credit: Amy Tucker, 2026

The Grief I Have Been Holding

This morning I cried.

Really cried. The kind of crying that starts somewhere below your ribs and moves through your whole body. The kind that makes you sit down because standing requires more structure than you have right now.

I was watching pelicans. Just watching pelicans fish. And suddenly I was weeping.

For seventeen days, I have been here, establishing safety and learning to sleep. Learning to play. Touching rocks. Watching whales. Allowing my nervous system to register that threat has passed, that I am here, that nothing is chasing me.

And this morning, my body decided it was safe enough. Safe enough to feel what I have been carrying. Safe enough to let the grief arrive.

Finalmente segura para sentir. Finally safe enough to feel.

What Greenspan Teaches About Dark Emotions

I brought Greenspan’s (2004) Healing Through the Dark Emotions with me to Mexico. Have been reading it in small pieces, letting it teach me what I am experiencing rather than rushing ahead to understand before feeling.

Greenspan argues that what we call “negative emotions” are badly felt energies, suppressed or misunderstood, rather than inherently problematic. She writes:

The dark emotions are purposeful. Their pain calls for attention, as does physical pain. (p. 88)

This stopped me in my tracks when I first read it weeks ago. Stopped me again this morning when the crying started.

The grief is purposeful. It is calling for attention. It has been calling for seventeen days, but I could hear it only once my nervous system registered enough safety to allow it.

El dolor tiene propósito. The pain has purpose.

Greenspan identifies grief as one of three “dark emotions” alongside fear and despair. She refuses to call them negative, insisting that “the energy of dark emotions is just energy” (p. 86). What makes emotions toxic is how we handle them: suppressing, denying, transcending prematurely, avenging, and escaping. The emotions themselves are neutral. Essential. Carrying information our bodies need us to know.

This reframes everything.

For five months before this retreat, I carried enormous grief. Witnessing someone I love disappear into addiction. Watching helplessly as the person I knew was displaced by someone whose behaviour felt profoundly other. Boss (1999) calls this ambiguous loss: grief without closure because the person remains physically present while psychologically transformed.

Turkey Vulture

Photo Credit: Amy Tucker, 2026

But I could cry about nothing else. My nervous system was in constant threat response. Porges (2011) explains that the social engagement system (which supports emotional expression, connection, and facial expressiveness) goes offline during sympathetic activation or dorsal vagal shutdown. You cannot process grief when your body is preparing for fight or flight or freeze.

So I carried it. Held it. Waited.

And this morning, watching pelicans, my nervous system signalled: it is safe now. You can feel this now.

Ahora es seguro. Now it is safe.

The Three Skills of Emotional Alchemy

Greenspan offers what she calls “emotional alchemy,” transforming dark emotions from lead into gold through three core skills:

Skill 1: Attending. Learning to listen to the emotion. To notice it. To turn toward it rather than away. (p. 75)

Skill 2: Befriending. Feel it to heal it. Allowing the emotion to be present without trying to fix, change, or understand it. Just feeling it. (p. 76)

Skill 3: Surrendering. To let it go, you have to let it flow. Allowing the emotion to move through you, trusting that emotions are temporary, that they crest and subside like waves. (p. 78)

Sitting on the patio this morning, pelicans fishing below, I practiced these skills.

An Afternoon Scratch

Photo Credit: Amy Tucker, 2026

I attended. Noticed the tightness in my chest. The way my breath was catching. The pressure behind my eyes. The heat in my throat. I turned toward the grief rather than distracting myself with coffee, reading, or planning the day.

I befriended. Sat with the feeling. Did my best to allow it without needing to understand why pelicans triggered weeping. Without needing to make sense of timing. Without needing the emotion to be different from what it was. Just: this is grief. It is here. It is allowed to be here.

I surrendered. Let the crying happen. Let it move. Let it flow without trying to contain or control or finish it quickly. Greenspan writes that “the art of surrendering to fear is the art of living” (p. 195). The same is true for grief. Surrendering to grief is allowing life to move through you honestly.

Atender. Hacerse amigo. Rendirse. Attend. Befriend. Surrender.

Vulnerability as the Power of No Protection

Greenspan opens one chapter with this: “The open heart is the doorway, inviting angels in, revealing that the world, even in the pit of hell, is charged with the sacred” (p. 25).

This terrifies me and compels me at the same time.

For seventeen days, I have been building protection. Routine. Predictability. Environmental consistency. The conditions that allow the nervous system to regulate. And this has been necessary. Essential. I could do nothing else first.

But now protection is sufficient that I can afford brief moments without it. Can afford to open slightly. Can afford to let grief arrive.

Greenspan calls this “vulnerability as the power of no protection.” She writes:

But vulnerability is about openness, beyond hurting. Openness to pain, adversity, loss, and death, but also to the things we most desire and cherish: to love, intimacy, creativity, sex, birth, wonder; to being truly touched by another human being, being truly seen for who we are; to the sheer adventure of being alive; to the sacred spirit that imbues the world.

This is what alonetude is teaching me. That safety is the condition that allows vulnerability rather than its opposite. That I came here to establish enough protection that I could risk having no protection. The open heart requires the regulated nervous system first.

La vulnerabilidad requiere seguridad primero. Vulnerability requires safety first.

Brené Brown (2012) writes extensively about vulnerability requiring courage. But what I am learning here is that vulnerability also requires nervous system regulation. You cannot risk openness when your body is in chronic threat. Cannot allow grief to flow when every resource goes toward survival.

I See You

Photo Credit: Amy Tucker, 2026

Alonetude creates conditions where vulnerability becomes possible. Where dark emotions can arrive because the body finally trusts that it can handle them.

Emotions Live in the Body

One of Greenspan’s seven foundations is this: “Emotions live in the body, in the world” (p. 88).

This feels obvious once you pay attention, but for most of my life, I believed emotions lived in my head. Was that crying something you chose? That grief was a cognitive state you could think your way through.

But this morning taught me otherwise. The grief arrived somatically before I had conscious thought about it. My chest tightened. My breath caught. My eyes filled. Only then did my mind notice: oh. I am crying. Something is moving through me.

van der Kolk (2014) emphasises this: the body keeps the score. Emotions are stored in the nervous system, accessed through somatic pathways rather than through thought. This is why talk therapy alone often fails with trauma. The body holds what language cannot reach.

El cuerpo guarda lo que las palabras no pueden tocar. The body holds what words cannot touch.

Watching myself cry this morning, I understood something new. The grief was never absent. It was present all along, stored in my body, waiting for conditions where it could be processed safely. My nervous system was protecting me by keeping it stored until I had capacity to feel it. Now, seventeen days into alonetude, capacity has increased slightly. Enough for this morning’s grief. Probably insufficient for all the grief I carry. But enough for today.

This is what Porges (2011) describes: nervous system regulation as creating capacity for emotional experience. When we are dysregulated, we cannot access the full range of emotional life. Regulation restores access gradually, bit by bit, as the system learns safety.

Dark Emotions

Greenspan offers a process for working with dark emotions that feels remarkably similar to what I have been doing intuitively:

Step 1: Intention. Focusing your spiritual will. Deciding consciously to work with the emotion for healing and transformation. (p. 79)

Step 2: Affirmation. Developing an emotion-positive attitude. Believing that emotions are purposeful rather than problematic. (p. 80)

Step 3: Bodily Sensation. Sensing, soothing, naming emotions as they arise in the body. (p. 80)

Step 4: Contextualization. Telling a wider story. Understanding the emotion within its broader personal and social context. (p. 83)

Step 5: Non-Action. Befriending what hurts. Being simply present without trying to avoid, cling to, fix, or even understand. (p. 85)

Step 6: Action. Social action, spiritual service. Hearing what the emotion is asking of you and responding from the heart. (p. 85)

Step 7: Transformation. The way of surrender is allowing the emotion to flow and transform naturally. (p. 86)

This morning, I moved through these steps without consciously intending to:

I set an intention by recognising grief was present and choosing to sit with it rather than distract myself.

I affirmed that grief is purposeful by remembering Greenspan’s teaching that dark emotions carry essential information.

I attended to bodily sensation: tightness, heat, pressure, trembling, the specific texture of grief in my chest and throat.

I contextualised this grief by connecting it to five months of witnessing addiction, to ambiguous loss, to the accumulated weight of helplessness.

I practiced non-action by simply sitting. Without trying to make the crying stop. Without needing to understand it fully. Just being with it.

Action will come later. For now, the grief is teaching me what it needs to teach.

And transformation is happening whether I direct it or experience it passively. The crying eventually subsided. My breath evened. The pressure eased. Something shifted. Something moved. Something that was stored became something that flowed.

Algo que estaba almacenado se convirtió en algo que fluyó. Something that was stored became something that flowed.

Pelicans Flying Over the Sea

Photo Credit: Amy Tucker, 2026

What This Means

Alonetude is proving more complex than I initially understood.

I came here thinking alonetude was about rest. About nervous system regulation. About recovering playfulness and establishing a routine. And it is all of those things.

But alonetude is also about creating conditions where difficult emotions can finally be processed. Where grief that has been held in the body for months can surface because the nervous system finally has capacity to feel it.

Greenspan writes that “without a listener, the healing process is aborted” (p. 14). In conventional therapeutic contexts, the listener is the therapist. But in alonetude, the listener is the self. Is the body attending to itself? Is the nervous system learning to hold what it previously could hold only in stored, frozen form?

En la alonetud, me escucho a mí misma. In alonetude, I listen to myself.

This feels important methodologically. Scholarly Personal Narrative (Nash, 2004) positions lived experience as legitimate data when properly contextualised. But what I am learning is that some lived experiences cannot be accessed until nervous system conditions allow it. The data exists in the body but remains inaccessible until safety permits processing.

Alonetude creates these conditions. Seventeen days of consistent safety. Seventeen days of routine. Seventeen days of play returning, of rocks teaching, of whales breathing, of stones offering patience. All of this accumulated into sufficient nervous system regulation that this morning my body decided: now. Now we can feel the grief about what happened before we came here.

Sands of Time

The Widsom of Grief

Greenspan calls this “the wisdom of grief” (2004). She argues that grief serves crucial functions:

  • It connects us to what we have loved and lost
  • It teaches us about attachment and impermanence
  • It opens our hearts to compassion
  • It reminds us we are vulnerable, alive, and capable of deep feeling
  • It transforms us from who we were before loss into who we become through integrating loss

Sitting here now, hours after this morning’s crying, I feel different. Lighter somehow. As though releasing some of the stored grief made space for something else. Made breathing easier. Made my chest less tight.

This is what Greenspan means by transformation. From grief to gratitude. Gratitude arrives through grief rather than replacing it, moving through grief makes gratitude accessible again. Makes joy possible. Makes life feel less heavy.

Del dolor a la gratitud. From pain to gratitude.

The pelicans are still fishing. The sea is still calm. The stones still sit patiently, teaching their lessons about deep time. Nothing external has changed.

But something internal has shifted. Some energy that was frozen is now flowing. Some stored emotion is now being partially processed.

And I am grateful. Grateful that my body knew to wait until safety was established. Grateful that alonetude created conditions where grief could arrive. Grateful for Greenspan’s framework that helps me understand what is happening. Grateful for the pelicans who somehow triggered the release I needed.

Figure: Safe Enough to Feel

Credit: NotebookLM, 2026

Can You See Me?

Photo Credit: Amy Tucker, 2026

Gracias por la seguridad que permite sentir. Thank you for the safety that permits feeling.

Gracias por el dolor que enseña. Thank you for the pain that teaches.

Gracias por las lágrimas que fluyen. Thank you for the tears that flow.

Gracias por el cuerpo que sabe cuándo es el momento. Thank you for the body that knows when it is time.

Frameworks and Concepts for Healing Dark Emotions

Concept or Framework NameAuthor(s) or Source CitedKey Definition or DescriptionAssociated Stages or SkillsSomatic or Psychological PurposeSource
Emotional AlchemyGreenspan (2003)Dark emotions are purposeful energies that carry essential information; their pain calls for attention, like physical pain, for healing and transformation.3 Core Skills: 1. Attending, 2. Befriending, 3. Surrendering. 7 Foundations: 1. Intention, 2. Affirmation, 3. Bodily Sensation, 4. Contextualization, 5. Non-Action, 6. Action, 7. Transformation.Dark emotions are purposeful energies that carry essential information; their pain calls for attention similar to physical pain for the purpose of healing and transformation.[1]
Polyvagal Theory / Social Engagement SystemPorges (2011)A neurophysiological framework explaining how the nervous system regulates emotional expression and connection based on perceived safety or threat.1. Sympathetic activation (fight/flight), 2. Dorsal vagal shutdown (freeze), 3. Social engagement system.Creates the capacity for emotional experience; the body must register safety to move out of threat response and allow the social engagement system to process grief.[1]
AlonetudeA state of intentional solitude is used to establish safety, routine, and nervous system regulation.A state of intentional solitude used to establish safety, routine, and nervous system regulation.Establishing safety, learning to sleep/play, touching rocks, watching nature, and establishing routine.Creates conditions in which the body finally trusts it can handle and process stored, frozen emotions like grief.A state of intentional solitude is used to establish safety, routine, and nervous system regulation.
The Body Keeps the Score / Somatic Storagevan der Kolk (2014)The concept that emotions and trauma are stored in the nervous system and body rather than just as cognitive thoughts.Accessing somatic pathways rather than just language or talk therapy.The body protects the individual by storing emotions until the nervous system has the capacity to process them safely.[1]
Vulnerability as the Power of No ProtectionGreenspan (2003); Brown (2012)An openness beyond pain and loss, extending to love, intimacy, and wonder; it is the state of having an open heart allowed by a regulated nervous system.Requires nervous system regulation and courage.Allows an individual to be truly touched or seen and to experience the “sheer adventure of being alive” once sufficient protection/safety is established.[1]
Ambiguous LossBoss (1999)A type of grief occurring without closure because a person remains physically present but is psychologically transformed or absent (e.g., through addiction).Absent from sourceIdentifies the specific source of unresolved grief where typical closure is unavailable.[1]
Scholarly Personal Narrative (SPN)Nash (2004)A methodological approach that positions lived experience as legitimate data when properly contextualised.Contextualising lived experience.Validates the individual’s personal journey and bodily experiences as a source of knowledge and truth.[1]

Note. Safe Enough to Feel: The Alchemy of Grief, Source Blog Post Day 17, 2026


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.

References

Boss, P. (1999). Ambiguous loss: Learning to live with unresolved grief. Harvard University Press.

Brown, B. (2012). Daring greatly: How the courage to be vulnerable transforms the way we live, love, parent, and lead. Gotham Books.

Google. (n.d.). Google Translate. https://translate.google.com

Greenspan, M. (2004). Healing through the dark emotions: The wisdom of grief, fear, and despair. Shambhala Publications.

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

Porges, S. W. (2011). The polyvagal theory: Neurophysiological foundations of emotions, attachment, communication, and self-regulation. W. W. Norton & Company.

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

Academic Lens

What arrives when you are ready — not forced, not scheduled — is the subject of intrinsic motivation theory (Ryan & Deci, 2000): genuine curiosity and creative impulse emerge when the conditions of autonomy, competence, and relatedness are met, and collapse under surveillance and external contingency. The readiness named here is also somatic: van der Kolk (2014) argues that the body must settle before the mind can receive. This entry documents what Lorde (1988) called the uses of the erotic — the knowledge that arrives through feeling rather than analysis.

Las historias de vida de las piedras: trauma, alonetud y aprendizaje en el tiempo profundo

Las piedras hablan. The stones speak. A bilingual scholarly reflection on trauma, alonetude, and what it means to learn through geological time beside the shore of Loreto, Baja California Sur.


For a full list of all sources cited throughout this project, see the References page.

Day 16: Talking to Rocks (And Listening When They Answer)

I spent the last few days talking to rocks.

Mostly silently. But definitely talking. Asking questions. Wondering aloud. Sitting in front of volcanic rock faces on Coronado Island, trying to understand what I was seeing.

And here is the thing. They answered.

In the way they held their shapes. In how they carried their histories. In what form does patient transformation take over millions of years when you slow down enough to see it?

I am sixty years old, and I am learning to listen to stone.

Rock Chairs

The Rock That Looks Like It Is Melting

There is a rock face on the north side of the island that stopped me completely.

It looks like it is melting. Actually melting. You can see where lava poured down, where it pooled, where it started to cool, but had barely finished when the temperature dropped enough to freeze it in place.

The History of Time

Frozen mid-flow. Caught between liquid and solid. Holding that in-between state for millions of years.

I stood there for twenty minutes just staring.

Trying to imagine the heat that would make rock flow like water. Trying to comprehend the violence of that moment. Everything around it is burning or fleeing or already gone. And then the cooling. The gradual solidification. The transformation from a destroying force into a peaceful habitat where birds now nest and lichens grow.

And I thought this was what I was trying to do.

Hold the memory of heat without burning.

Carry what happened without being destroyed by it.

Be transformed by fire but remain myself through the transformation.

The rock face has been doing this for millions of years. I am on day fifteen. But we are doing the same work. Just at different speeds.

Esta piedra recuerda. This stone remembers.

And it is teaching me how to remember without burning.

The One That Is Broken But Still Standing

Crack in the Wall

There is another rock face with a vertical crack running through it. Maybe three meters tall. Maybe a centimetre wide at the widest point.

Something broke it. Thermal shock when cold water hit hot stone, maybe. Or an earthquake. Or just the accumulated stress of millions of temperature cycles. Expanding in heat. Contracting in cold. Until finally the rock could hold no more and split.

But here is what strikes me. It is still standing.

The two sides of the fracture have stayed together. Held by friction and weight. Stable despite the split. You can see light through the crack. You can see exactly where it broke. But it is still here. Still doing the work of being rock. Still holding the island together.

I looked at this fracture for a long time.

Thought about my own breaking points. The places where pressure exceeded what I could hold. The visible marks of moments when I could carry no more.

And I thought maybe breaking is just honest.

Maybe fractures are how we know something is real. Has limits. Can be stressed. Carries the history of what it has weathered.

There is a Japanese art form called kintsugi, where broken pottery is repaired with gold. The philosophy is that breakage and repair are part of the object’s history and should be honoured, made visible rather than hidden. That something can be more beautiful for having been broken and carefully mended.

The fractured rock needs no gold. But it has the same quality.

Here is where I broke.

Here is where stress exceeded capacity.

Here is how I continue anyway. Fractured but standing. Marked but functional.

La fractura no es el final. The fracture is the end of nothing.

It is part of the story.

The Smooth One That Should Be Rough

Rock Face

Volcanic rock should be rough. Textured. Showing all the marks of how it cooled. Gas bubbles. Crystalline structures. The molten material is solidifying rapidly.

But there is a rock face on the eastern side that is impossibly smooth.

Worn smooth by thousands of years of wind carrying sand. By water moving across it twice daily with tides. The patient’s work of erosion removes everything that protrudes, leaving only the most resistant material.

I ran my hand across this surface and felt time differently than I usually feel it.

Hours and days and years dissolved. What remained was geological time. The kind of time where my entire life is too brief to register. Where everything I think matters is just noise in a system that has been running for billions of years.

This should feel crushing, right? Should make everything seem pointless?

But it feels the opposite.

It feels freeing.

The pressure to make my life matter in some permanent way dissolves when I realise nothing is permanent. Stone is temporary. Mountains are temporary. Even continents are temporary. Everything is wearing away. Everything is becoming something else so slowly we mistake it for stillness.

I need only be here. Touching this smooth stone. Learning from its patience. Understanding that wearing away is simply what everything does.

The question becomes, what shape do you hold while it is happening?

La piedra no resiste el desgaste. The stone receives erosion rather than resisting it.

Simplemente sucede. It simply happens.

And the stone continues being beautiful. Changing slowly. But beautiful.

Rock Tunnel

The One Covered in Barnacles

At the waterline, a rock is completely covered in barnacles. Thousands of them. Layer upon layer of small white shells so dense that the original stone beneath lies hidden from view.

I touched this carefully (barnacles are sharp) and felt the roughness, the complexity, the way they had created an entirely new surface.

The original rock is still there. Still solid. Still doing the work of being rock. But you would never know what it looked like before the barnacles arrived.

And I thought this is me at sixty.

All these layers of experience accumulated over decades. Jobs I have held. Places I have lived. People I have loved. Losses I have carried. Joys I have known. All of it is building up. Changing my surface. Making me something different than what I was beneath.

And this is okay.

I am trying to get back to the original, unbarnacled version of myself. Some pure state before life happened to me makes no sense.

I am the whole thing. Rock plus everything that has accumulated on it. All the layers together make up whatever I mean at this moment.

Las capas cuentan la historia. The layers tell the story.

The original stone plus everything else. All of it together.

The Fingers Reaching Toward Sky

Fingers Reaching for the Sky

On the western edge, a rock formation rises from the water like fingers reaching upward.

Five distinct pillars. Maybe two meters tall. Separated by erosion but still connected at the base. They look intentional. Looks like a sculpture. Looks like someone (or something) was trying to grasp the sky.

Of course, no one made them. Water and wind made them by removing everything else. Leaving only these harder pillars that resisted the longest.

But they look like reaching.

And standing in front of them, I felt the same impulse. To reach. To extend beyond my current boundaries. To stretch toward something beyond my current reach.

Here is what struck me. These pillars have been reaching for millions of years. They will never actually grasp the sky. The reaching is the point. The reaching is what they do.

And I thought maybe this is enough.

Maybe reaching without grasping is valid.

Maybe the attempt itself matters.

Maybe continuing to reach despite never quite arriving is what makes you worthy of standing there at all.

I have spent so much energy trying to secure things. Trying to arrive somewhere stable and permanent where I could finally stop reaching and just be.

But maybe the reaching is the point. Maybe the effort to grow, to stretch, to extend beyond my current limitations is what I am supposed to be doing. And arriving at ‘done,’ ‘secure,’ or ‘finished’ is impossible, because being alive means continuing to reach.

Alcanzar sin llegar. To reach without arriving.

This too is valid.

The effort itself matters.

Rock Face

What I Am Learning From Stone

Life in the Stone

I have been walking around this island touching rocks. Sitting with them. Trying to learn what they know.

And here is what they are teaching me.

Transformation is slow. Nothing happens suddenly in geological time. Fire becomes stone over timescales that exceed human comprehension. Erosion works grain by grain. Everything that looks stable is actually moving. Just so slowly, my brief human perception mistakes motion for stillness.

After five months of crisis, after twenty-five years of precarious employment, I forgot this. Forgot that healing takes time. Forgot that becoming someone different from you requires patience. The rocks are reminding me. Slow change is still change. Patient work over time moves mountains.

Breaking is honest. The fractured rock face still stands. Still functions. Fractures are part of the story rather than the conclusion. What broke me ended nothing. Just marked me. Made me different. Made my story more complex.

Accumulation creates complexity. The barnacle-covered rock is more interesting than smooth rock. More textured. More alive. What accumulates on you over time is the life you have lived, layered on the foundation you were given.

Reaching matters more than grasping. The stone fingers will never touch the sky. But they reach anyway. The reaching itself is beautiful. The effort itself matters.

Patience is active. The smooth rock achieved its smoothness through millions of encounters with water and wind. Each encounter removed something infinitesimal. But the accumulation of infinitesimal changes creates transformation. Patience is active participation in slow becoming rather than passive waiting.

The Small Stone I Carried Home

Special Rock

On my last day on the island, I picked up one small stone. Fits in my palm. Black basalt with rust-red oxidation patches. Smooth on one side where water wore it. Rough, on the other hand, is where a break exposed fresh surface.

I brought it back to the cottage.

It sits on the patio now. Every morning I touch it. Feel the contrast between smooth and rough. Notice how the sun warms it. Watch how rain darkens it temporarily, then how it dries back to its original colours.

The rock is still changing. Even here. Even in my care. Oxidation continues. Morning dew dissolves microscopic amounts of minerals. Daily temperature changes create stresses too small to see but real enough to eventually, inevitably, cause new fractures.

This rock is a teacher I brought home.

A reminder that transformation is slow. That breaking ends nothing. That accumulation creates beauty. That reaching without grasping is enough. That patience is how mountains move.

When I return to the life I left, when I re-enter the urgency and demands and constant pressure, this rock will sit on my desk.

Will be cool under my hand when I need cooling.

Will be solid when I need grounding.

Will be patient when I have forgotten how.

Esta piedra recuerda a mí. This rock remembers for me.

What I learned here. That change can be slow. That time is longer than I think. That patience is possible. That some stories take millions of years to tell.

Y está bien. And that is okay.

A Question For You

Standing Dreams

When was the last time you sat with something long enough to learn from it?

No analysing. No using. No thinking about it. Simply sitting with it. Letting it teach through its presence. It is patience. Its way of being in the world.

I am learning this at sixty. Learning to slow down enough to hear what the world has been saying all along. Learning to listen to teachers who speak in textures and colours, and the patient holding of shapes across deep time.

The rocks have been here for millions of years. They are in no hurry. They have time to teach.

And I am finally slow enough to learn.

If you are learning to slow down, to listen to unlikely teachers, to trust that transformation takes time, I would love to have you join the conversation.

The rocks and I will be here. Patient. Waiting.

Gracias, piedras. Por enseñarme paciencia. Por mostrarme que la transformación es lenta. Por recordarme que las fracturas cuentan historias. Por demostrar que alcanzar importa. Por estar aquí, de forma constante, mientras aprendo a estar presente.

Thank you, stones. For teaching me patience. For showing me that transformation is slow. For reminding me that fractures tell stories. For demonstrating that reaching matters. For being here, constant, while I learn to be present.

Rock Stories


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.

What Happened to the Dreams?

Content Warning: This post contains reflections on grief, loss, and emotional exhaustion. Please care for yourself as you read, and feel free to step away if you need to.

On Randy Pausch, Childhood Play, and Learning to Remember at Sixty

Credit: Randy Pausch, The Last Lecture, 2007

I brought Randy Pausch’s The Last Lecture with me to Mexico. Someone gave it to me years ago, and I never had a chance to read it. Too busy. Too many other things are demanding attention. Too much work to do. I have watched and rewatched the video several times, it is one of my favourites to return to when I feel uncertain about my life.

But two weeks into this retreat, with time stretching out in ways that felt entirely unfamiliar, I picked it up. Started reading. And Randy asked a question that stopped me cold: What were your childhood dreams?

¿Cuáles eran tus sueños de infancia?

He wrote about his own experiences: being in zero gravity, playing in the NFL, authoring an article for the World Book Encyclopedia, being Captain Kirk, winning stuffed animals at amusement parks, and being a Disney Imagineer (Pausch & Zaslow, 2008). He could name them. List them. Tell the stories of how he pursued each one.

I closed the book and sat there for a long time, reluctant to answer. Because the honest answer was: I find myself drawing a blank. No me acuerdo. The memories feel distant, blurred at the edges.

I remember that I had them. I know there were things I wanted to be, do, and become. But somewhere between seven and sixty, those dreams got buried under layers of survival, responsibility, and the endless work of just getting through.

Enterrados. Buried. Pero no muertos. But still alive, buried beneath the surface.

And I realised: the same thing that suppressed my capacity for play also suppressed my ability to remember what I wanted before I learned what was realistic, achievable, and appropriate for someone with my background, resources, and limitations.

La misma cosa. The same thing. El juego y los sueños, ambos enterrados juntos. Play and dreams, both buried together.

I am sixty years old, and that question stops me completely. ¿Qué quería ser? What did I want to be?

Senior Puppy

And yet it hurts more than I expected. But it does. Because it means I have spent decades living without reference to those early desires. Without even remembering they existed. Without asking: what did that seven-year-old want? And does she still want it? And if she does, what would it take to give it to her?

Randy Pausch had an engineering problem. He had months to live, children to teach, and dreams to pass on. My problem is different but somehow related. I have years left, hopefully decades. But I have lost contact with the person who knew how to dream without editing, who knew how to want without calculating the probability of success, who knew how to play without needing justification.

And I am trying to find her again.

I have been reading this book slowly. A few pages each morning on the patio. Letting it sit with me. Letting Randy’s urgency teach me something about my own squandered time. Letting his clarity about what matters help me see what I have been avoiding.

¿Qué pasó con los sueños? What happened to the dreams?

¿Dónde están ahora? Where are they now?

What Randy Knew that I Forgot

I keep coming back to this as I read: Randy Pausch’s lecture is about achieving childhood dreams. But underneath that is something more fundamental: he remembered what they were. He could name them. He could tell you which ones he achieved, which ones he enabled for others, and which ones he had to let go.

He stayed connected to that child self who wanted things before learning whether wanting them was wise, possible, or realistic.

My Sweet Seniorita

I lost that connection.

Somewhere along the way, growing up in circumstances that required constant adaptation, resilience, and reinvention, I lost track of what I originally wanted. Or maybe I decided those wants were dangerous. Distracting. Luxuries that felt impossible to hold onto when survival required all my attention.

Brown and Vaughan (2009) argue that childhood play deprivation creates deficits that persist into adulthood. But I had play as a child. I played. I had imagination. I had dreams. I had that glorious, unselfconscious absorption in make-believe, adventure, and creating worlds that answered to imagination alone.

But somewhere between childhood and adulthood, I put all of that away. And the strangest part is that the moment I decided to stop has vanished from memory. It happened quietly, without drama. Just a gradual fading. A slow erasure. Until one day I looked around and realised every want had become attached to a strategic purpose or an external expectation.

Randy kept his dreams. I lost mine. And sitting here at sixty, watching sea lions play, I am trying to understand: how do you find what you have lost when the memory itself has faded?

The Dream I Do Remember

El Sueño Que Sí Recuerdo

There is one dream I remember. Barely. Faintly. Like something seen through fog.

I wanted to be a writer.

Quería ser escritora.

A real storyteller. Someone who writes outside the academy, beyond peer review. Simply a writer. Una escritora de verdad. Someone who tells stories. Someone who makes meaning through words. Someone whose writing helps other people understand themselves better, feel less alone, find language for experiences that felt too big or too complicated or too shameful to name.

I remember sitting in my grandmother’s house as a child, reading books, thinking: I want to do this. I want to make people feel the way this book makes me feel. Connected. Understood. Less alone.

And then I grew up and learned all the reasons to be cautious. That serious people have backup plans. That you need security before you can afford creativity. That passion alone leaves you exposed.

So I became a scholar instead. Learned to write in ways that met academic standards. Learned to produce work that served institutional needs. Learned to measure success by publications, citations, and conference presentations.

And somewhere in all that learning, I stopped writing the kind of writing that made me want to write in the first place.

This retreat is me trying to find that again. This blog. These daily reflections. This attempt to write in ways that sound like thinking, that honour experience as data, that trust that someone reading this might feel less alone because I am willing to say: I lost my dreams. I forgot how to want. I put away play because I thought I had to in order to survive.

Nash (2004) calls this Scholarly Personal Narrative. A methodology that allows lived experience to count as data when properly theorised and critically examined. But underneath the methodology is something simpler: permission. Permission to write the way I wanted to write before I learned all the rules about how writing should sound.

Randy achieved his childhood dreams. I am trying to remember mine. And maybe that is okay. Maybe sixty is exactly the right time to ask: what did I want before I learned to want only achievable things? And what would it mean to give that to myself now, even if it looks different than it would have looked at seven?

My Sweet Lady

Here is what I am learning: play and childhood dreams are connected in ways I am only beginning to understand.

Dreams are what you want. Los sueños son lo que quieres. Play is how you practice wanting. El juego es cómo practicas querer. Children play at being the things they dream about. Play astronaut. Play teacher. Play explorer. Play artist. The play is how the dream stays alive. How it gets rehearsed. How the child learns what that dream might feel like if it came true.

When you stop playing, you stop wanting to practice. Cuando dejas de jugar, dejas de practicar querer. And when you stop wanting to practice, the dreams fade. Gradually. Poco a poco. Until you can no longer remember what they were.

I stopped playing because survival required seriousness. And when I stopped playing, I stopped rehearsing the dreams. Stopped imagining what they would feel like. Stopped giving them shape, texture, and presence in my daily life.

And now, as I try to recover play, I am discovering: the dreams are still there. Buried. Waiting. They resist direct thinking, analysis, or strategic planning. I have to play my way back to them.

Winnicott (1971) writes about play as the location where we discover who we are and what we want. Through the spontaneous, creative, unselfconscious exploration that play allows, rather than through serious self-examination. Play is how we find out what brings us alive. What captures our attention. What we return to again and again, because it calls to something essential in us.

Watching sea lions yesterday, I felt something wake up. Algo despertó. A feeling rather than a specific dream. Simply the sense that dreaming is possible. Que soñar es posible. That wanting things just because I want them is allowed. That every desire deserves to exist without a justification, without strategic reasoning, probability analysis, or risk assessment.

My Sweet Love

I came back to the cottage and read more of Randy’s book. Read about how he pursued his dreams because they called to him, regardless of whether they made sense. And I thought: the sea lions understand this instinctively. Randy understood it consciously. And I am somewhere in between, trying to learn what both of them already know.

The sea lions want to play. So they play. Quieren jugar. Entonces juegan. They want to ride waves. So they ride them. They want to leap. So they leap. Quieren saltar. Entonces saltan. There is no gap between wanting and doing. No hay brecha entre querer y hacer. No calculation about whether the want is realistic, appropriate, or likely to succeed.

And watching them, I thought: I used to be like that. Before I learned to edit my wants. Before I learned that some dreams are more acceptable than others. Before I learned that admitting you want something gives people the power to disappoint you, wanting something too much felt like exposure, like handing someone the power to hurt me.

The sea lions remain fully open to wanting. They want fully. They play fully. They risk disappointment by trying. And they seem… joyful. Alive. Present.

I want that back.

Sea Puppies

Randy’s Time Limit, My Extension

El Tiempo de Randy y Mi Tiempo

Randy Pausch had months. Randy tenía meses. I have years, probably decades. Yo tengo años, probablemente décadas.

He used his limited time to pass on everything he wanted his children to know. To enable others’ dreams. To teach his final lessons about living well. Randy wrote that he was trying to put himself in a bottle that would wash ashore for his children someday (Pausch & Zaslow, 2008, p. 10). A way of being present even in his absence. A way of teaching everything he hoped to pass on, even beyond his living years.

I have the opposite problem: too much time. Demasiado tiempo. Enough time that I keep postponing. Keep thinking: I will do that later. Lo haré más tarde. I will write that book someday. Algún día. I will pursue that dream when I have more security, more time, more energy, and more certainty that it will work out.

But here is what Randy’s lecture teaches without saying it directly: time limits clarify. Los límites de tiempo aclaran. When you know time is short, you stop negotiating with yourself about what matters. You stop waiting for conditions to be perfect. You stop postponing joy until after you have finished all the serious work.

You do what matters. Now. Ahora. Because now is all you have. Porque ahora es todo lo que tienes.

His urgency is foreign to me. But I am learning to borrow some of it. Because sixty carries a particular kind of weight. Because the time I am squandering waiting for perfect conditions is time that passes regardless. Because every day I spend avoiding the writing I want to do, the play I once knew, the dreams I have yet to recover, is a day lived at partial capacity.

The urgency is real, even without a terminal diagnosis. Living fully asks only for honesty about what matters. It just requires recognising that postponing joy is a choice. And it is a choice I have been making unconsciously for decades.

Randy made the conscious choice to live fully in his remaining months. I am trying to make the conscious choice to live fully in my remaining decades. Because time is precious even when there is plenty of it. Because I have one life and it is happening now, and I want to arrive at the end having asked, clearly and honestly: what did I want? Did I give it to myself? And if I delayed, why?

Lo Que El Juego Enseña Sobre Los Sueños

I have been playing for two weeks now. Small ways. Tentative ways. Humming. Swimming for pleasure. Skipping three steps. Following curiosity without needing it to be productive.

And something entirely unexpected is happening: wants are surfacing.

Los deseos están surgiendo. Wants. Deseos.

Small wants at first. I want to swim longer. Quiero nadar más tiempo. I want to sit and watch pelicans without checking the time. I want to write this blog post even though it falls outside my thesis word count. I want to buy this small carved turtle from the vendor on the beach, simply because looking at it makes me happy.

Small wants. Deseos pequeños. Silly wants, maybe. Wants that serve no strategic purpose and advance no career goal. Just wants. Solamente deseos.

And underneath the small wants, larger ones are stirring. Still foggy. Still too foggy to name precisely. But there. Waiting. Getting stronger as I practice the small wants, as I learn that wanting is allowed, as I remember that I am allowed to pursue things just because they call to me.

I think this is how you find lost dreams. Thinking about them directly leads nowhere. Analyzing what you should want, what you used to want, or what you ought to want now only takes you further from the answer. But by practicing wanting in small ways until the muscle memory comes back. Until wanting feels safe enough that bigger wants can surface. Until you trust yourself enough to say, “This is what I want.” And I am going to pursue it because it calls to something in me that has been silent for too long, regardless of whether it is realistic, appropriate, or likely to succeed.

Randy Pausch enabled others’ dreams. Taught his students to pursue theirs. Passed them on to his children. He understood that helping others achieve their childhood dreams was as important as achieving his own, maybe more important (Pausch & Zaslow, 2008). He called it the “head fake.” The real learning, the real gift, lived inside what pursuing it taught you about yourself and what you could become.

I am enabling my own dream. The one I forgot I had. The one that is still there, underneath all the layers of learned seriousness, strategic thinking, and a protective refusal to want.

The dream of writing. Really writing. The kind that helps people feel less alone. The kind that tells truths I was trained to suppress. The kind that sounds like me, the full me rather than the academic persona I learned to perform.

This blog is me practicing. This retreat is me creating conditions where that dream can breathe again. These 30 days are me trying to become the kind of person who can say, “I want this.” And then pursue it. Now. Today, while there is still time.

Key Takeaways: What Randy Taught Me

1. Dreams endure. They simply get buried.

Los sueños no mueren. Simplemente se entierran.

Randy stayed connected to his. I buried mine. But buried means recoverable. Enterrado no está muerto. Buried can be excavated. It just takes time, attention, and willingness to dig through all the layers that accumulated on top.

2. Play is how you practice wanting.

El juego es cómo practicas querer.

Children know this instinctively. Adults forget it. But the mechanism still works at sixty the same way it worked at seven. When you play, what surfaces? Cuando juegas, los deseos surgen. The trick is to allow them rather than to edit or dismiss them immediately.

3. Time limits clarified. But living fully asks only for clarity, which anyone can choose.

Los límites de tiempo aclaran. Pero no necesitas un diagnóstico terminal para vivir plenamente.

Randy had months. I have decades. But I can borrow his clarity without needing his urgency. Can ask: if time were short, what would matter? And then do that. Now. Ahora. While there is still time. Mientras aún hay tiempo.

4. Enabling your own dreams counts.

Habilitar tus propios sueños cuenta.

Randy enabled others’ dreams. That was his path. Mine is different. I am learning to enable my own. Learning that this is both essential and earned. No es egoísta sino necesario. Helping others find their dreams begins with tending to my own.

5. It is never too late to become who you wanted to be.

Nunca es demasiado tarde para convertirte en quien querías ser.

At seven, I wanted to be a writer who helps people feel less alone. At sixty, I am becoming that. A los sesenta, me estoy convirtiendo en eso. Slowly. Imperfectly. But really. Pero realmente. And the fact that it took fifty-three years to get here makes it more hard-won, more real. Just delayed. And delays can be recovered from.

The Dreams at Sixty Look Different Than the Dream at Seven

I need to say this clearly: My aim is to become the sixty-year-old who knows how to want the way that seven-year-old did. Fully. Completamente. Without apologising. Sin disculparse. Without needing permission. Sin necesitar permiso.

The dream at sixty looks different from what it would have looked like at seven. It is complicated by everything I have learned, everything I have lived through, everything I know now about how the world works, how hard things are, and how much survival costs.

But it is also enriched by all of that. Pero también está enriquecido por todo eso. The writing I can do now is writing that a seven-year-old was incapable of doing. Because it is informed by sixty years of living. By loss and love and chronic stress and hard-won healing. Por pérdida y amor, por estrés crónico y por curación ganada con dificultad. By understanding that comes only from decades of paying attention.

Randy achieved his childhood dreams by becoming exactly who that child wanted to be. I am achieving mine by becoming who that child would have grown into if she had been allowed to keep wanting, keep dreaming, keep playing all along.

Different paths. Caminos diferentes. Same destination: living fully. Vivir plenamente. Wanting openly. Querer abiertamente. Pursuing dreams because they are real, because they are mine. Perseguir sueños no porque sean realistas, sino porque son reales.

Photo of a Bumper Sticker

Gracias, Randy, por preguntar qué soñábamos. Thank you, Randy, for asking what we dreamed.

Por recordarme que tuve sueños. To remind me, I had dreams.

Por mostrarme que nunca es demasiado tarde. For showing me that it is never too late.

Por enseñarme que el juego y los sueños están conectados. For teaching me that play and dreams are connected.

Por vivir completamente hasta el final. For living fully until the end.

Por darme permiso para hacer lo mismo. For giving me permission to do the same.

Con décadas por delante, no meses. With decades ahead.

Pero con la misma urgencia de vivir bien. But with the same urgency to live well.

Ahora. Now.

Mientras aún hay tiempo. While there is still time.

The Power of Play

Credit: NotebookLM, 2026

Thank you for the reminder, Randy.


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.

References

Google. (n.d.). Google Translate. https://translate.google.com

Pausch, R., & Zaslow, J. (2008). The last lecture. Hyperion.

Pausch, R. (2007). Randy Pausch’s last lecture: Achieving your childhood dreams [Video]. YouTube. https://www.youtube.com/watch?v=ji5_MqicxSo