Abstract
Nick Flynn’s memoir about his troubled relationship with his father is analyzed as an example of desperately practiced spiritual art using the narrative psychology of Michael White and David Epston. Reflections on the history of autobiography are combined with psychotherapeutic explorations into the significance of telling deeply troubling stories. White and Epston’s metaphors of externalizing conversations, noting exceptions, and recruiting an audience are implemented in the case of Flynn’s identification with his father’s alcoholism, his identification with his father’s writing aspirations, and his identification with his father’s body.
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