garding psychotherapeutic training: How can the therapist develop this almost unconscious attunement to the patient? Perhaps concepts like Boadella’s “resonance” allow us, as psychotherapists, to give inner space to our own pyschophysical processes that can only be grasped by intuition and that are quite different from experiences that are explicit and that can be put into words. Therefore, in this period when psychoanalysts and all “depth psychology” therapists are turning more and more to the Self-Other interaction as a fundamental therapeutic tool (previously called the Object relationship, a very unhappy term coined by the British School of Objects Relastionship), the awareness that Heller brings to the most subtle nuances of non-verbal expression will help us, as body therapists, to become intuitively “attuned” to our patients. But while the video researchers emphasize the developmental impact of the Dyad relationship, Heller’s work keeps repeating a fundamental point: There are both self-regulation and Self-Other interactive processes going on at the same time. Emotional, behavioral and cognitive development, as well as their disregulation, cannot be reduced to one or the other. The Self-Other relationship must integrate the autonomous processes of emotion, thought and action that take place in the very same moment of Self-Other contact. At the same time the dynamics of solitude are the result of what happened during the Self-Other interplay with the primary caretaker. Therefore, this is a book that is worthwhile for all body psychotherapists to read. The Hill Speaks by Elsa Corbluth Jurassic Press, ISBN 978-0-9558870-0-0 Reviewed by David Boadella The Hill Speaks, is Elsa Corbluth’s 5th poetry collection, containing over sixty poems, in 123 pages. Elsa is a well known English poet, has won many prizes, and has broadcast on BBC. Her work was much admired by Ted Hughes, the former Poet Laureate, who once wrote: “Your poems give me a very keen pleasure…You do many original things in a perfect way.”¨ This new collection may sound local, but is quite global in scope. For Elsa a landscape on earth is an opening to a landscape of the heart. Whether it is a flower, a tree, a rock, or a mountain, she presents this from her artistic vision as a bridge between her vision of the world of nature, where even hills have a voice and can speak, and the inner passions of being human. The book is full of breath-taking currents that lead us into worlds of myth and legend, or back to solid earth with a bump. One of the poems is called “to a wind from all directions in a changing climate”. Her book moves you with deep unexpected rhythms, which sweep along like the tides of the sea. She embraces themes of life, love and death always in unexpected, sometimes ironic, ways that are meant to startle and invite you to look on the world in new ways. She confronts the always new faces of the seasons, and her landscapes range from the Jurassic coast of south England, to the volcanic island of Iceland, and the mountains of New Zealand. Elsa is not only a world-traveller through continents, but also evokes new aspects of famous artists: Ibsen, Brecht, Bob Dylan, Edvard Munch,and the blind and deaf poet Jack Clemo, to name a few. She can move between the intensely personal themes of her own children, to intense political themes such as Chernobyl and climatic pollution. Elsa weaves her poetic tapestry out of matters which are natural but also often tragically human, and yet she manages to breathe between them the fres h air of her sharp and startling humour, so that we are moved alternately to deep tears and to deep laughter by the way she guides us through the many unexpected facets of her long life. energy & character vol.37 may 2009 63
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