All That Jazz

If you haven’t yet read Judith Searle’s The Literary Enneagram or Tom Condon’s The Enneagram Movie & Video Guide, you’re missing a world of pleasure. 

Those who’ve had the good fortune to be in workshops with panels of exemplars know the value of seeing and hearing from a wide variety of individuals. The evidence for Enneagram style is in the stories people create out of their lives: their language, their pace, how they view the world. And – when the stories are well told – you can distinguish among Enneagram styles in film and books as well as from a live panel. This is a pleasurable way to improve your observation skills.

I’ve been drawn to jazz from the first note I ever heard and was happy to discover Nat Hentoff's Listen to the Stories, a collection of his essays about jazz and country musicians. Because I’d read in Condon’s Enneagram Movie & Video Guide that Thelonious Monk is style Five, I looked for evidence in Hentoff’s essay, “Memories of Thelonious Monk:”

"…That day Monk, for a while, was more talkative than usual. At other times his silences could last an hour or two or longer. A brilliant young musician, Gigi Gryce, came rushing in during one of the silences and said to Monk with great delight, 'I got in! I got in! I’m going to Julliard!' After about ten minutes, Monk looked at the still radiant Gigi and said, 'Well, I hope you don’t lose it there.' 

"Although there's plenty of room for improvisation by Monk and his colleagues, each piece is precisely structured. Monk not only knew what he wanted from his musicians, he refused to accept anything less. Gigi Gryce once told me: 'I had a part Monk wrote for me that was impossible. I had to play melody while simultaneously playing harmony with him. In addition, the intervals were very wide. I told him I couldn’t do it. ‘You have an instrument, don’t you?’ he said. ‘Either play it or throw it away.’ And he walked away. Finally I was able to play it'…

"For a long time, Monk… was treated by many jazz critics as a semi-comic eccentric rather than as an original. And that diminished his chances to work… Eventually, he made many recordings and played a growing number of festivals and clubs. But Monk began to stay more and more within his own mind. The silences grew much longer… 

"Monk knew his own stature. At a recording session, when Coleman Hawkins asked Monk to explain some of his music to him and to John Coltrane, who was also on the date, Monk looked at the magisterial Hawkins: 'You’re the great Coleman Hawkins, right? You’re the guy who invented the tenor saxophone, right?' Monk turned to Coltrane: 'You’re the great John Coltrane, right? Well, the music is on the horn. Between the two of you, you should be able to find it.'"

In the above excerpt, note a Five-ish tendency to withdraw into silence, Monk's long pauses, his disdain for emotions, his minimalism, his certainty about his own carefully thought-out views and expertise, and his tendency to expect others to learn the way he did – to figure it out for themselves.  

 

Somebody? Nobody? The Enneagram, Mindfulness and Life's Unfolding

This book is a great contribution and resource

for those using the Enneagram on the path
of awakening.” — Russ Hudson, co-author,
The Wisdom of the Enneagram

By letting individuals speak through and about their personality styles, the book reveals their struggles and solutions. Plus it guides readers down their own road to growing and changing and living a more complete life. Tom Condon, The Changeworks

In Paths Beyond Ego John Engler wrote, "You have to be somebody before you can be nobody," suggesting we can't surrender our ego-patterns until we've developed a sense of self and can begin to see how that self operates. 

This strikes me as a great truth and explains what CJ Fitzsimons and I found in the interviews we offer and discuss in this book. Respondents typically grow into their personalities before they can begin to surrender. And having surrendered, these personalities mutiny again at some point. Indeed, people seem to go in and out of somebody and nobody, depending upon the particular aspect of self under scrutiny and the nature of their worldview and life experience.

One client said, for example, "My parents had been critical, and my husband cut me down all the time. I was miserable, even thinking about taking my life. But I realized, Hey I've got four children. I have to find a shrink! Until therapy, no one in my lifetime had ever told me I was sensitive and caring. That was transforming." She was clearly become somebody.

Another client with the same personality style said, "My worldview has become far more expansive. I've let go of a lot of control needs. I'm in a relationship predicated on health and respect for individuality." This sounds more like becoming nobody, but for all we know that could have been simply a peak in his lifelong trek.

Much like old friends catching up on a cozy couch after a long time of not seeing one another, Mary and CJ hold a space for you to share the journey of self-reflection with a gentle tug. So, pull up a chair, tuck in your feet, and bring yourself to this book with the presence of mind it implores. Inside, each human exemplar speaks with a candor that lends an utterly truthful tone to the telling of "type." You will find this a compelling avenue to bring you back inside yourself. Susan Olesek, Founder, Enneagram Prison Project.