Working With Gay Boarding School Survivors
Self & Society. Volume 33 Number 3. Nov 05-Jan05

Marcus Gottlieb

In the past five years I have worked in groups with about 40 fellow boarding school survivors and corresponded, spoken and shared experiences with dozens of others. More recently, I have worked as a psychotherapist with around 20, most of whom have been gay, lesbian or bisexual. It was in September 2004 that I started to run workshops, the subject of this article. These were designed specifically for gay men, like myself, who felt that their boarding school experience was difficult to come to terms with and had had a long-term negative impact.

At that point it was exactly ten years since I had entered therapy. When I started that journey, I was unaware that my anxiety, isolation and sense of failure were linked to my schooling. Since then, I have oscillated between anger about the damage done to me and insistence that I have little genuinely to complain about. Struggling with this duality is common. Boarders can buy into the myth that we were special and fortunate. It is a tenacious introject.
The major selling point of boarding schools is that they instil 'character', self-confidence and self-reliance. I think this claim deserves to be questioned.
I find it less painful, less shameful, to 'defend my parents' and maintain the story that I was happy, than to admit that my daily reality at school was tedium and torment. If I do voice my real feelings, I may do so apologetically.

The major selling point of boarding schools is that they instil 'character', self-confidence and self-reliance. I think this claim deserves to be questioned. It may be true that boarders can grow into competitive and domineering adults, and these are qualities well rewarded in our society. However, the cost in many cases is surely too great, in terms of the trauma of early abandonment and institutionalisation, the symptoms of which are clearly seen in adults who are hardened, pressured, and do not permit themselves normal weakness or failure, who are resistant to loving and being loved.

Nurturing parents know that their children are dependent on their protection and love. They set boundaries to contain and support them becoming gradually less dependent, by individuating, making choices and developing their adult form. Crucially, this is an organic process, which needs a pace appropriate to the individual.
Boarding can be damaging because it takes parents and family out of the picture and substitutes premature independence, combined with dependency on the school, an overweening, ersatz authority.
Boarding can be damaging because it takes parents and family out of the picture and substitutes premature independence, combined with dependency on the school, an overweening, ersatz authority. An institution is not designed to meet a child’s emotional needs, and they may conclude that these are unimportant or a mere nuisance.

It is important that therapists are aware of the scars that ex-boarders may carry, very often hidden. "Now that I realize," one client said to me, "that my problems of low self esteem, depression, fear of intimacy and difficulty with relationships are classic by-products of the boarding experience, I feel much of my previous therapy was wide of the mark." The surface the client presents can be polished and urbane. When I meet other ex-boarders, I tend to connect through humour and can appear confident and tough; to show that I survived. I was conditioned from childhood not to ask for emotional support, nor to share unhappiness. To talk about my needs or vulnerability at boarding school would have been unthinkably 'sissy' or 'soft'- especially taboo given my awareness at some level of being gay.



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Many of the paintings used on this site are taken from the work of Mark Rothko, born Marcus Rothkowitz in Russia in 1903 to a Lithuanian Jewish father and a Prussian Jewish mother. He worked with colour relationships to imbue his paintings with the tragedy of the human condition. He wrote, 'The most important tool the artist fashions through constant practice is faith in his ability to produce miracles when they are needed. [For the artist, the picture must be] as for anyone experiencing it later, a revelation, an unexpected and unprecedented resolution of an entirely familiar need.'