Towards psychedelic apprenticeship: Developing a gentle touch for the mediation and validation of psychedelic-induced insights and revelations

A striking feature of psychedelics is their ability to increase attribution of truth and meaningfulness to specific contents and ideas experienced, which may persist long after psychedelic effects have subsided. We propose that processes underlying conferral of meaning and truth in psychedelic experiences may act as a double-edged sword: while these may drive important therapeutic benefits, they also raise important considerations regarding the validation and mediation of knowledge gained during these experiences. Specifically, the ability of psychedelics to induce noetic feelings of revelation may enhance the significance and attribution of reality of specific beliefs, worldviews, and apparent memories which might exacerbate the risk of iatrogenic complications that other psychotherapeutic approaches have historically faced, such as false memory syndrome. These considerations are timely, as the use of psychedelics is becoming increasingly mainstream, in an environment marked by the emergence of strong commercial interest for psychedelic therapy. We elaborate on these ethical challenges via three examples illustrating issues of validation and mediation in therapeutic, neo-shamanic and research contexts involving psychedelic use. Finally, we propose a pragmatic framework to attend to these challenges based on an ethical approach which considers the embeddedness of psychedelic experiences within larger historical and cultural contexts, their intersubjective character and the use of practices which we conceptualise here as forms of psychedelic apprenticeship. This notion of apprenticeship goes beyond current approaches of preparation and integration by stressing the central importance of validation practices based on empathic resonance by an experienced therapist or guide.

‘Waking in the dark’:1 Remembering incest in A Thousand Acres (1991), Exposure (1993) and Beautiful Kate (2009)

During the 1990s, such inherent difficulties in recalling and expressing abuse were heightened by the so-called ‘Memory Wars’, as the Recovered Memory Movement (which advocated the validity of women’s rediscovered recollections of trauma) conflicted with the theories of the False Memory Syndrome Foundation (which maintained the tendency for (misguided) therapists to implant experiences in their (generally female) patients’ minds). Working within this often volatile critical context, Jane Smiley’s A Thousand Acres (1991) and Kathryn Harrison’s Exposure (1993), together with Rachel Ward’s film version of Newton Thornburg’s Beautiful Kate (2009), embody the tense interplay between the ‘real’ and the reconstructed that characterises debates about incest and memory. All three texts engage with the ambiguities associated with recounting incest, not least through their status as fictions-as fabrications. Recalling and reworking the very notion of False Memory Syndrome, Smiley and Harrison reclaim and rewrite male-authored stories, implanting them with the perspectives of subjugated daughters. However, over a decade later, Rachel Ward’s Beautiful Kate presents something of a turning point, as this critically-acclaimed film marries explicitness and artistry, and, in doing so, confronts openly the memory of incest.