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In Their Right Minds, by Carole Brooks Platt
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In 1976, Julian Jaynes proposed that the language of poetry and prophecy originated in the right, "god-side" of the brain. Current neuroscientific evidence confirms the role of the right hemisphere in poetry, a sensed presence, and paranormal claims as well as in mental imbalance. Left-hemispheric dominance for language is the norm. An atypically enhanced right hemisphere, whether attained through genetic predisposition, left-hemispheric damage, epilepsy, childhood or later traumas, can create hypersensitivities along with special skills. Dissociative "Others" may arise unbidden or be coaxed out through occult practices. Based on nearly twenty years of scientific and literary research, this book enters the atypical minds of poetic geniuses - Blake, Keats, Hugo, Rilke, Yeats, Merrill, Plath and Hughes - by way of the visible signs in their lives, beliefs, and shared practices.
- Sales Rank: #1495072 in eBooks
- Published on: 2015-10-29
- Released on: 2015-10-29
- Format: Kindle eBook
Review
"In Their Right Minds is a cogent and lucid argument for the origin of creativity in the brain… The book offers a fascinating account about how the brain works in terms of inspiration: for some the fine line between transcendence, dreams, and wakefulness, the blurring between oneself and a literary creation… I'm not exaggerating by saying this is one of the most remarkable books I’ve recently read."
(Gregory F. Taque ASEBL Journal)
"Childhood trauma, paranormal experiences, and the drive to write verse: why do these three things cluster together in the biographies of so many great poets? Drawing upon recent neuroscientific research plus anecdotal evidence from the lives of Yeats, Hugo, Merrill, Plath, Hughes, and others, Carole Brooks Platt argues convincingly for a link to the brain's right hemisphere. In an era of overspecialization, Platt is a rarity: a brilliant generalist, able to see patterns connecting topics as diverse as shamanism, s�ances, and psychotherapy. One of the poets under study here, Keats, famously compared the act of reading Chapman’s Homer to discovering a new planet, and I think the same can be said of reading Platt. She leaves us open-mouthed with wonder in a world we thought we knew."
(Julie Kane, PhD, Professor of English at Northwestern State University; former Fulbright Scholar and Louisiana Poet Laureate)
'Carole Brooks Platt has written an extremely interesting book… Her research also highlights the neuroscience behind many of the manifestations of the poetic urge, the urge to sing rather than talk, as it were… This book is dealing with a universally serious subject... it is an enormously stimulating book.'
(Garry Kennard Interalia Magazine)
"Carole Brooks Platt's creative synthesis of neuroscience and the humanities offers fascinating brain/mind explorations of a number of poetic geniuses. This groundbreaking interdisciplinary work heralds a paradigm shift in literary analysis."
(Allan N. Schore, PhD, University of California at Los Angeles David Geffen School of Medicine)
About the Author
Carole Brooks Platt is a linguist, literary scholar, and consciousness researcher. She was born in Philadelphia, PA, and has degrees from the University of Pennsylvania (A.B.), the Sorbonne (dipl�me annuel), Georgetown University (M.S.), and Rice University (PhD). Her blog can be found at http://rightmindmatters.blogspot.com/2011/07/once-in-frightening-dream-patient-on.html
Most helpful customer reviews
2 of 2 people found the following review helpful.
Profound! Fun! Enlightening!
By Kitty Johnson
Dr. Carole Brooks Platt wears her learning very lightly. In her book “In Their Right Minds: The Lives and Shared Practices of Poetic Geniuses,” she gives concise and absorbing biographies of such great writers as Blake, Shelley, Yeats, Dickens, Rilke, James Merrill, Ted Hughes, Svlvia Plath, and more. Skipping gracefully from great life to great life, she offers a satisfying synthesis of what these artists share in terms of right-brained thinking, synesthesia, dissociative thinking, psychic research, and other expansions of consciousness.
However, Platt’s real gift is to be simultaneously scholarly and liberating. The last chapter of her book is particularly fine, condensing the complicated lives of Hughes and Plath and the people around them into a coherent and sympathetic whole. I am quite sure the last thing Dr. Platt wanted to do was write a self-help book, and indeed she has not. But this one chapter, and indeed the whole book, is an inspiration to its readers to expand their minds, to dabble, to play, to listen, to think, to dream just as the writers she presents did. I can’t presume to say our doors of perception are cranking shut, but even to read the brief bits of poems Platt quotes makes us realize that there is a potential greatness in our consciousness that is obscured by what Picasso calls “the dust of everyday life.”
To vaguely paraphrase Melville on Hawthorne, anyone with an interest in these matters should have this book in their collection, as should every college library in existence.
0 of 0 people found the following review helpful.
Charting poetic genius in right hemispheric brain activity
By Gregory Tague
Recently, my daughter (who is an artist) came home and started talking about how we have two brains, right and left. Other than the difference between our limbic system (the so-called mammalian brain) and our cortex, I had not thought much about the bilateral brain. Carole Brooks Platt has proved me wrong.
Platt’s In Their Right Minds: The Lives and Shared Practices of Poetic Geniuses (Exeter: Imprint Academic, 2015) is a cogent and lucid argument for the origin of creativity in the brain. Platt is multi-knowledgeable across various disciplines, including the literary arts, neuroscience and consciousness studies, and psychology. The book offers a fascinating account about how the brain works in terms of inspiration: for some the fine line between transcendence, dreams, and wakefulness, the blurring between oneself and a literary creation. The book is packed with scientific details and biographical information (in a parallel form) about William Blake, John Keats, Victor Hugo, Rainer Maria Rilke, W.B Yeats, James Merrill, David Jackson, Sylvia Plath, and Ted Hughes. Looking to prehistory, Platt notes that we became fully human when our emotional side developed as much as our rational, and with these poets the emotional goes far beyond anything typical.
Of course it’s more complicated than saying the left hemisphere equals language, math, and logic while the right hemisphere equals spatial ability, facial recognition, and visual/musical imagery. So Platt gets down to the individual level, how childhood trauma, mood disorders, and dissociative thoughts act as a springboard for right-hemispheric dominance in some people. The right hemisphere, borrowing from Arthur Koestler (according to Platt), puts thinking aside. So while the left hemisphere produces syntactical speech, the right hemisphere deals with subtleties. Referring to neuroscientist Michael Gazzaniga, Platt notes that the right hemisphere (contextual perception) sees reality while the left hemisphere (textual detail) interprets reality. Nevertheless, in order to completely understand anything, the right hemisphere is ultimately important.
In terms of these writers dealing with dissociation, Platt covers reincarnation, s�ances, automatic writing, the Ouija board, telepathy and other paranormal events. Normally I’d be skeptical about all of this, but Platt has convinced me that in line with highly sensitive and creative right-hemispheric individuals these were truly crucial exercises as part of the process in their imaginative output. That is, the metaphorical-driven right hemisphere takes control for those who, because of early trauma (like the loss of a parent), are seeking emotional balance.
I’m not exaggerating by saying this is one of the most remarkable books I’ve recently read. There is a surprising blend of interest in poetic creativity and neuroscience, invaluable for anyone engaged in the making or interpretation of the literary arts. D.H. Lawrence once said something about how C�zanne did not just paint apples but went behind the apples to show us what was there. Platt does not just chronicle the visions of poets and their inspiration but goes behind the scenes of their brains – she shows us how the mind of poetic genius works. While Platt focuses on the writers mentioned above, she is also well versed in many others. The book is a goldmine for the interdisciplinary synthesis of scientific and literary matter related to the brain as a creative mechanism.
- Gregory F. Tague, Ph.D., author of Making Mind: Moral Sense and Consciousness.
0 of 0 people found the following review helpful.
Science and the Paranormal
By HefnGafr
This is a book like no other I know of, a true original. Platt is interested in the role of right-brain dominance in the role of creative work, and she has researched the scientific evidence bearing on the subject extensively; there is a copious bibliography. But she doesn't stop with science. She explores the work and lives of certain poets who, paired with a partner, have derived inspiration--and sometimes information--from shared paranornal experience. The precondition for the ability to do this appear to be trauma in childhood: abuse, loss of a parent or important parental figure, gender confusion, severe illness. Any or all of these, combined with right-brain dominance, can result in extraordinary poetry.
What's most startling about Platt's conclusions is the paranormal part. Best known among her examples is William Butler Yeats, whose wife George engaged in trance-based automatic writing; Yeats's strange book A Vision derives from his sessions with George. In the news now, owing to the recent publication of a biography, is the equally bizarre experience of James Merrill, who with his partner David Jackson received messages through a Ouija board, resulting in Merrill's trilogy The Changing Light at Sandover. Seances were the medium for Victor Hugo and members of his family.
Platt builds her argument solidly on the science of neurology, but, convinced by the experience of the poets she has studied, remains open to the possibility that information can reach creative people traumatized in childhood--and not only them--through dreams, meditation, telepathy, and, yes, devices invented so that people can communicate with the other world and the deceased--pheomena resistent to replication in a lab. Open-minded readers, whether convinced or not, will find all this intriguing. Until some left-brain type discovers how the messages so conveyed are actually coming through by rational means, we might all do worse than to ponder the thesis of Platt's fascinating book.
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