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A moment later he is a mere reader. He has written non-sense: something that must not present but receive a meaning’ (quoted in Elza, 2009, p. 57). I write to discover what the story might be: for this text I want to create; for this inquiry I want to make; for this person sitting in front of me in the therapy room. In order to build on Irwin’s definition for my own purposes, I have taken the liberty of replacing the ‘t’ for teacher with the ‘t’ for therapist. I now want to explicate the key elements which I believe run through the work of artist-writer, researcher and therapist, entwining them into a coherent fabric which knits comfortably into the human project of caring inquiry.

15–16). A journey that begins with the permission (from ourselves as well as others) to embark and the letting go of (or, more accurately, an acknowledgement of and reflection on) preconceptions. A journey which isn’t linear, more ‘…a spiral, moving backwards and forwards … those all important “aha” moments helping to sustain the initial engagement. ’ (Evans, 2009, p. 16). Finlay (2011, p. 24) characterises this in the research paradigm as a process which is ‘constantly evolving, dynamic and co-created’ with a ‘dance-like quality’: Caught up in the dance, researchers must wage a continuous, iterative struggle to become aware of, and then manage, pre-understandings and habitualities that inevitably linger.

25 C. KRAMER We don’t even need to ask—what we hear when we already know the answer. So said Shams Tabriz: There were many things that could have been said but because the right quality of presence wasn’t there, they will never be seen (Helminski, 2011). There’s the risk: “The ones doing the looking are giving themselves the power to define” (Mita, as cited in Smith, 1999, p. 58). There is a kind of greedy stare that does not see, that threatens and diminishes. 2 “You cannot truly see this stone [You cannot truly see this stone] if you believe the world is yours [if you believe the world is yours] to do with as you will.

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