56 pages 1-hour read

Bittersweet: How Sorrow and Longing Make Us Whole

Nonfiction | Book | Adult | Published in 2022

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Themes

How to Respond to Pain

When it comes to how people should respond to pain, the first principle Susan Cain insists on is that pain should not cause people to become numb and avoid living their lives because they are afraid of it. Cain accepts the idea that suffering is inevitable; it cannot be avoided, so the best thing to do is to accept it as part of life. This is not as morbid as it may seem, as Cain points out. The experience of pain, if processed productively, is one of the most reliable mechanisms for personal growth.


Secondly, Cain suggests that rather than flee from pain, people should dive deeper into it. She says:


The place you suffer is the place you care. You hurt because you care. Therefore, the best response to pain is to dive deeper into your caring. Which is exactly the opposite of what most of us want to do. We want to avoid pain: to ward off the bitter by not caring quite so much about the sweet (45).


Because we care, we are far more likely to experience pain. If one does not care, they are less likely to experience emotional pain. In Cain’s estimation, the latter is no way to live life, and it is a defensive posture against the prospect of suffering. Later in the book, Cain interviews Dr. William Breitbart, a psychotherapist for patients with terminal illnesses. According to Breitbart, “Meaning making […] is the heart of humanity; it gives us the power to transcend suffering” (242). Diving deeper into caring builds resiliency and ultimately enables people to continue to find meaning in their lives.


Furthermore, Cain suggests helping others as a response to emotional pain. She mentions Maya Angelou’s memoir I Know Why the Caged Bird Sings as an example. The book has helped many who have read it, including Oprah Winfrey, to process their own grief and trauma. Cain says, “The best way to heal yourself? Heal others” (51). Aiding someone in need, in whatever form, is a therapeutic exercise which helps the person in need but also the person providing the aid. Cain states that “Many people respond to loss by healing in others the wounds that they themselves have suffered” (49). This is an act of compassion that again is bonded to the whole concept of diving deeper into caring.


Finally, Cain suggests that people transform their pain into beauty. She says:


Whatever pain you can’t get rid of, make it your creative offering—or find someone who makes it for you. And if you do find yourself drawn to such a person, ask yourself why they call to you. What are they expressing on your behalf-and where do they have the power to take you? (99-100).


Suffering is a primary source for creative output, which Cain elaborates on extensively in the book. The transformation of pain into a creative offering is a therapy that provides the individual with a productive means for dealing with their suffering and it has the added benefit of contributing something of beauty to the world.

Coming to Terms With Death

Cain poses a simple question that readers will likely have asked themselves at some point in their lives: “How are we supposed to live, knowing that we and everyone we love will die?” (203). As one potential answer to this question, Cain spends most of the entirety of Chapter 7 discussing the ideas of a group she refers to as “immortalists” who embrace a utopian view that at some point in humanity’s future, death will cease, and humans will have access to immortality. She questions the wisdom behind this position, if not the practicality. The optimism of the movement is enticing, but Cain recognizes a glaring limitation: With death removed from the human experience, what would it then mean to be human? As she reflects on the question, she suggests to the reader that there is a better way of coming to terms with death than devoting one’s heart to unbridled optimism as evinced by the immortalists,


In Chapter 8, Cain begins discussing a haiku by Issa: “It is true / That this world of dew / Is a world of dew. / But even so…” (202). Cain provides the backstory surrounding the poem, namely that Issa was mourning the loss of his daughter who had died from smallpox. Cain draws the reader’s attention to the final line of the poem and elaborates on its meaning. She states that the poem shows both an acceptance of impermanence and a resistance. She says:


But even so, says Issa, I’ll long for my daughter forever. But even so, I’ll never be whole again. But even so, I cannot accept, will not accept, do you hear me as I whisper that I do not accept the brutal terms of life and death on this beautiful planet. But even so, but even so, but even so (202).


The spirit of the poem, in Cain’s view, is one that is both willing to accept that death is part of life, while at the same time leaving open space for sorrow, which is also fundamental to life.


In the poem’s final line, Cain sees a strategy for coming to terms with death. She says:


‘but even so’—carries a different wisdom: one that expresses the longing that many of us sense is the force that will carry us home. ‘But even so’ opens the arms that seem to fold tightly across the chest of the world when our loved ones leave us. ‘But even so’ connects us with everyone who’s ever grieved, which is to say: everyone (220).


The shared fate by all is a potential source for coming to terms with death: It happens to everyone, no matter the circumstances, and the grief we experience when our loved ones pass is as fundamental to life as anything else, perhaps even the most fundamental thing. The way to come to terms with death, in Cain’s estimation, is to realize that “We transcend grief only when we realize that we’re connected with all the other humans who can’t transcend grief” (203). In this shared experience is the answer to how we make sense of death, and by extension, our lives. 

The Dangers That Arise When We Don’t Acknowledge Our Negative Emotions

Cain agrees with her friend, Dr. Susan David, who devised the term “tyranny of positivity” (160) that defines American culture. Effectively, Americans are expected to embrace a strength mindset in all circumstances and are implicitly discouraged from exhibiting any manifestations of internal struggle. Cain traces this general cultural value to the nation’s founding, specifically locating the source in its Calvinist roots. Of this, Cain says Americans are “encouraged to see ourselves, deep down, as winners or losers—and to show, with our sanguine-choleric behavior, that we belong to the former group. These attitudes shape countless aspects of our lives, often without our realizing it” (143). Feelings such as sadness and sorrow contradict the appearance that people are winners and are thus looked down upon, as Cain describes: “There was no place for sorrow or joy- there was only the need to show that you were one of the winners, with a one-way ticket to heaven” (147). This bifurcation into winners and losers fosters an atmosphere that leads to the suppression of sorrow and other like emotions.


Cain visits her alma mater, Princeton University, to conduct an interview with a group of students. She discovers that the university social code elevates what she refers to as effortless perfection. Cain defines this as a social convention in which one is expected to demonstrate an “easy grace that gets you accepted to the most exclusive eating clubs just by showing up and being—apparently—yourself” (151). Effortless perfection is a kind of armor people put on in social circles which gives the appearance of strength and success and masks any kind of hint that a person is weak. Cain sees this as highly problematic. She says, “It’s no accident that the phrase effortless perfection […] was born during an era of rising rates of anxiety, depression, and suicide on campus” (157). Cain further explores how suppressing emotions can lead to trouble. She interviews Dr. Susan David, who explains that “Research on emotional suppression shows that when emotions are pushed aside or ignored, they get stronger” (161). Rather than confronting sorrow, when it is pushed aside, it does not go away. Instead, it grows stronger and can have lasting impacts on a person’s life. The term used to describe this behavior is called amplification, and Dr. David suggests that “You might think you’re in control of unwanted emotions when you ignore them, but in fact they control you. Internal pain always comes out. Always. And who pays the price? We do. Our children, our colleagues, our communities” (161). Part of Cain’s argument in the book is that American culture specifically needs to learn how to create space for less appealing emotions, and this involves first recognizing that being sad is not the same as being weak. Cain says, “We’re often taught to focus on our strengths, not weaknesses. But we shouldn’t confuse a bittersweet temperament, or a ‘negative’ emotional state such as sadness, with weakness” (165). This mistaken view of natural human emotion is a source of anxiety and stress which can have all manner of negative health consequences both physical and mental. Instead, a new understanding of the value of sadness and melancholy is what Cain attempts to foster by writing the book. These emotions are as much part of the human experience as joy and happiness, perhaps even more fundamental in Cain’s view, and learning how to cope with them leads to fuller and more robust personal growth.

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