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I attempted to keep my comments in line with his activity, trying not to say anything that would indicate any desire on my part that he do any particular thing, but rather to communicate, understandingly and simply, recognition in line with his frame of reference. I wanted him to lead the way. I would follow. I wanted to let him know from the beginning that he would set the pace in that room and that I would recognize his efforts at two-way communication with some concrete reality basis of a shared experience between the two of us.
Any exclamation of surprise or praise might be interpreted by him as the direction he must take. It might close off any other areas of exploration that might be far more important for him.
only shared ingredients at this point for communication between us. To Dibs these were safe concepts.
He was, indeed, not only on the verge of coming through, but actually emerging. Whatever his problems were, we could discard the label of mental retardation.
“You really know what you want, don’t you?” I commented. Dibs looked at me directly for a brief moment. “You know,” he said curtly.
He made a square of the red paint and with meticulous care filled it in with precise, careful strokes of color.
He continued to make squares of painted color in the same rigid sequence — red, orange, yellow, green, blue, black, white, violet.
Dibs released his grip on the edge of the easel. His arms hung limply by his sides. He seemed so defeated.
He needed to develop strength to cope with his world, but that strength had to come from within him and he had to experience personally his ability to cope with his world as it was. Any meaningful changes for Dibs would have to come from within him. We could not hope to make over his external world.
His mother stood there waiting for him, looking very much like Dibs — uncomfortable, ill at ease, not at all sure of herself or of the situation.
She was embarrassed and aggravated by his behavior.
I stood aside for Dibs to enter. He started to go into the room, but suddenly pulled back and grasped the edge of the door. There was a reversible sign on the door. Dibs reached up and took the card out of the holder.
“Play,” he read. He tapped the second
word with his finger several times. This was a new word to him. Therapy. He studied it carefully. “The rapy,” he said.
I looked at him. I knew he was referring to himself, but was using the second person pronoun. Dibs seldom had been heard to refer to himself as “I.”
“I did,”
So Dibs obviously had many words in his unused vocabulary. He could observe and define problems. He could solve these problems.
The locked doors in his life had certainly made an impression on Dibs.
“I... I... I can.”
“Listen,” he said. “One. Two. Three. Four. That’s four o’clock.”
But he could not bear to touch the paint. He circled his hands closely over the wet paper. Then he picked up a wooden spatula, dipped that in the paint, and spread it around on the paper.
“Oh, wipe it off,” he said.
He dipped his fingers into the yellow paint and slowly, deliberately, spread it over each of his fingers. Then he wiped it off with the paper towels. Next he dipped his fingers into the blue paint. He put his hand down on the paper and bent over, very absorbed in what he was doing. He spread the paint carefully over each finger. “There,” he said triumphantly, holding out his hands. “Look.” “You really did it that time, didn’t you?” I remarked. “Look,” he said. “Fingers all full of blue finger paint.” He looked at his hands.
There was in the finished painting relationships, form, and meaning.
communication open and to slow it down. Then, if he wanted to, he could add more of his thoughts and feelings and not be abruptly cut off by my response