creative writing school
Module 2: Slowness
structure
Introduction
Theory
Inspiration
Creative writing exercises
Toolbox
Share your text with us
Theory
Inspiration
Creative writing exercises
Toolbox
Share your text with us
introduction
In writing, the other is not a theme. It is a condition.
It appears wherever identity is not fixed, wherever the self is shaped through encounter, friction, distance. The other is what resists us, mirrors us, disturbs us. It is through the other that difference becomes visible — and through difference that the self begins to fracture, multiply, or shift. Writing that takes the other seriously does not aim to explain or resolve this tension; it stays with it.
A useful point of reference here is Douglas Gordon’s installation Through a Looking Glass (1999). Working with mirrors and projection, Gordon stages a confrontation between self and external gaze. The piece centers on a scene from Taxi Driver, where the protagonist rehearses his identity in front of a mirror — addressing an imagined other while speaking to himself. The dual screens move in and out of sync, creating a slow dissonance. What begins as recognition slips into estrangement.
What Gordon exposes is not simply duality, but instability. The self only exists in relation to an other, and that relation is never stable. Projection, doubling, and identification blur the boundary between inside and outside. What we think belongs to the other often reveals something we cannot yet face in ourselves.
In this lesson, the other is approached as a writing situation rather than a concept. We look at how alterity enters language, how it shapes voice, distance, tone, and address. Not to resolve identity, but to let it remain porous. Writing becomes a space where the self is not centered, but negotiated — again and again.
It appears wherever identity is not fixed, wherever the self is shaped through encounter, friction, distance. The other is what resists us, mirrors us, disturbs us. It is through the other that difference becomes visible — and through difference that the self begins to fracture, multiply, or shift. Writing that takes the other seriously does not aim to explain or resolve this tension; it stays with it.
A useful point of reference here is Douglas Gordon’s installation Through a Looking Glass (1999). Working with mirrors and projection, Gordon stages a confrontation between self and external gaze. The piece centers on a scene from Taxi Driver, where the protagonist rehearses his identity in front of a mirror — addressing an imagined other while speaking to himself. The dual screens move in and out of sync, creating a slow dissonance. What begins as recognition slips into estrangement.
What Gordon exposes is not simply duality, but instability. The self only exists in relation to an other, and that relation is never stable. Projection, doubling, and identification blur the boundary between inside and outside. What we think belongs to the other often reveals something we cannot yet face in ourselves.
In this lesson, the other is approached as a writing situation rather than a concept. We look at how alterity enters language, how it shapes voice, distance, tone, and address. Not to resolve identity, but to let it remain porous. Writing becomes a space where the self is not centered, but negotiated — again and again.
theory
The notion of the other in psychology is not an abstract concept; it is a lived experience. It sits at the core of how we differentiate ourselves, how identity takes shape, and how we relate to those who do not mirror us. Rooted in existential thought and psychoanalytic theory, the other marks the limit of our own experience — what we are not, what we fear, what we desire, what we project. Encountering the other is never neutral; it always reshapes the self.
Differentiation and the Self
Differentiation refers to the process through which individuals establish a clear sense of self that is distinct from others. This process begins in early childhood, as individuals learn to navigate their identity in relation to their caregivers, peers, and the broader social environment. Key theories, such as those proposed by Donald Winnicott, emphasize the importance of early relationships in shaping one’s sense of self. Winnicott’s notion of the “true self” and “false self” highlights how individuals may adapt their identities to meet the expectations of the “other,” potentially leading to conflicts between authentic self-expression and social conformity.
The Mirror Stage and the Formation of the Ego
Jacques Lacan’s theory of the “mirror stage” illustrates the emergence of the ego through the recognition of oneself in a reflection. In this stage, an infant identifies with an external image (the “other”) that offers a semblance of wholeness, contrasting with their fragmented self-experience. This identification is crucial for ego formation but also creates a dependency on external validation. The image of the other becomes a reference point for self-evaluation and comparison, leading to the development of social identities shaped by societal norms and expectations.
Social Identity Theory
Henri Tajfel’s Social Identity Theory expands this dynamic from the individual to the collective. Part of who we believe ourselves to be is drawn from the groups we belong to. Alignment with one group often requires differentiation from another. Categories such as nationality, gender, class, or ethnicity become markers of belonging — and exclusion. Through these processes, difference hardens into hierarchy. The other is no longer simply different, but positioned as lesser, threatening, or foreign. Identity becomes something defended rather than explored.
The Role of Projection
Projection complicates this further. What we struggle to recognize in ourselves is often displaced onto others. Fear, desire, aggression, vulnerability — once externalized — appear safer, more manageable. The other becomes a screen. This mechanism distorts perception and intensifies conflict, especially in group dynamics, where projection reinforces stereotypes and moral distance. Otherness is no longer about difference, but about denial.
Empathy and the Other
Empathy offers another possibility. Not as identification or sameness, but as the capacity to remain present with difference without erasing it. Empathy allows for recognition without appropriation, connection without collapse. When empathy is absent, the other becomes abstract, simplified, dehumanized. When it is present, identity loosens its borders. The self becomes less defensive, more permeable, more capable of complexity.
The Psychological Impact of Othering
The effects of othering are profound. For those positioned as the other, it can lead to marginalization, internalized shame, and fractured identity. For those who other, it often produces a false sense of coherence — a superiority built on separation. In both cases, something essential is lost: the possibility of relation without domination. Writing, like psychology, can either reproduce these mechanisms or interrupt them. It can solidify borders — or make them porous again.
inspiration
Martin Scorsese: Taxi Driver, 1976
Douglas Gordon: Through a Looking Glass, 1999
Douglas Gordon and the other
Douglas Gordon's installation Through a Looking Glass (1999) provides an interesting exploration of "the other" through its innovative use of mirrors, projections, and the concept of the double. These elements intricately connect to psychological themes of differentiation, identity formation, and the complexities of self-perception in relation to others.
Use of mirrors
Mirrors in Gordon’s work serve as powerful metaphors for self-reflection and the confrontation with the other. The installation features a well-known scene from Martin Scorsese's Taxi Driver, where the protagonist Travis Bickle, played by Robert De Niro, asks, "You talkin' to me?" while looking into a mirror. This moment is emblematic of self-awareness and the internal dialogue that occurs when one confronts their identity in relation to external perceptions.
The mirror acts as a literal and figurative boundary between self and other, where the reflection forces the viewer to question their own identity and how it is perceived by others. The dual screens in the installation enhance this effect by presenting the same scene in two versions—one as originally filmed and the other reversed. This not only creates a sense of disorientation but also prompts viewers to reflect on the multiplicity of identity and the nuances of perception that exist when one confronts the other.
Projection as symbol and tool
Projection in Gordon's installation is both a symbol of differentiation and a tool for understanding the complexities of identity. The act of projecting the film onto dual screens symbolizes the splitting of the self into different facets—each representing varying interpretations of identity. As the images begin in sync and then fall out of step, they highlight the mental fragmentation and internal conflict that can arise when engaging with the other.
From a psychological perspective, projection is a defense mechanism where individuals attribute their own emotions, desires, or insecurities to others. In this context, the projected images can be seen as representing the psychological projection of the viewer's fears and desires onto the other. This dynamic emphasizes how individuals often see aspects of themselves reflected in others, leading to a deeper understanding of the complexities of identity formation.
The double
The concept of the double is central to Gordon's exploration of "the other." In Through a Looking Glass, the use of dual screens creates a doubling effect, where the viewer is confronted with two simultaneous interpretations of the same narrative. This doubling reflects the idea that identity is not singular but rather composed of multiple layers and contradictions.
This relationship to the double resonates with the psychological notion of the self being split between the true self and the socially constructed self. The installation encapsulates the tension between these identities, prompting viewers to consider their own relationship with the other. Just as Travis Bickle's identity is fragmented, so too is the viewer's experience, leading to questions about authenticity, representation, and the myriad ways individuals navigate their identities in relation to others.
Use of mirrors
Mirrors in Gordon’s work serve as powerful metaphors for self-reflection and the confrontation with the other. The installation features a well-known scene from Martin Scorsese's Taxi Driver, where the protagonist Travis Bickle, played by Robert De Niro, asks, "You talkin' to me?" while looking into a mirror. This moment is emblematic of self-awareness and the internal dialogue that occurs when one confronts their identity in relation to external perceptions.
The mirror acts as a literal and figurative boundary between self and other, where the reflection forces the viewer to question their own identity and how it is perceived by others. The dual screens in the installation enhance this effect by presenting the same scene in two versions—one as originally filmed and the other reversed. This not only creates a sense of disorientation but also prompts viewers to reflect on the multiplicity of identity and the nuances of perception that exist when one confronts the other.
Projection as symbol and tool
Projection in Gordon's installation is both a symbol of differentiation and a tool for understanding the complexities of identity. The act of projecting the film onto dual screens symbolizes the splitting of the self into different facets—each representing varying interpretations of identity. As the images begin in sync and then fall out of step, they highlight the mental fragmentation and internal conflict that can arise when engaging with the other.
From a psychological perspective, projection is a defense mechanism where individuals attribute their own emotions, desires, or insecurities to others. In this context, the projected images can be seen as representing the psychological projection of the viewer's fears and desires onto the other. This dynamic emphasizes how individuals often see aspects of themselves reflected in others, leading to a deeper understanding of the complexities of identity formation.
The double
The concept of the double is central to Gordon's exploration of "the other." In Through a Looking Glass, the use of dual screens creates a doubling effect, where the viewer is confronted with two simultaneous interpretations of the same narrative. This doubling reflects the idea that identity is not singular but rather composed of multiple layers and contradictions.
This relationship to the double resonates with the psychological notion of the self being split between the true self and the socially constructed self. The installation encapsulates the tension between these identities, prompting viewers to consider their own relationship with the other. Just as Travis Bickle's identity is fragmented, so too is the viewer's experience, leading to questions about authenticity, representation, and the myriad ways individuals navigate their identities in relation to others.
creative writing exercises
warm-up exercise
Choose one of the ten provided photos depicting people with mirrors. Each photo is numbered. The number of the photo you select will indicate the number of minutes you have to write about it. For example, if you choose photo number 5, write for 5 minutes.
Questions to consider:
Questions to consider:
- What emotions do the people in the photo convey through their expressions and body language?
- How does the mirror reflect not only their physical appearance but also their internal state?
- What story might be unfolding in this moment? What is the relationship between the person and their reflection?
- How does the presence of the mirror alter the dynamics of the scene? Does it create distance, intimacy, or something else?
- What aspects of identity and self-perception are illuminated through this image?
immersive writing prompt
Spend a minimum of 10 minutes, ideally 20 minutes, observing yourself in a mirror. As you gaze at your reflection, notice the subtleties of your features, expressions, and emotions.
Instructions:
Consider the following:
After your time is up, write a reflective piece about this encounter. You might choose one of the following approaches:
Instructions:
- Allow yourself to fully engage with the reflection. Recognize that another version of you is present in that moment.
- Initiate a dialogue with this 'other.' What does it have to say? What questions arise? How does this reflection respond to your thoughts and feelings?
Consider the following:
- What fears or desires emerge as you observe this other?
- How does this interaction challenge or reinforce your understanding of yourself?
- What aspects of your identity are being revealed or concealed in this reflection?
After your time is up, write a reflective piece about this encounter. You might choose one of the following approaches:
- Narrative reflection: Craft a narrative that explores the conversation between your reflected self and your inner self. How do they interact? What do they reveal to each other?
- Poetic exploration: Write an abstract poem that captures the essence of self-reflection, using imagery and metaphor related to mirrors and duality.
- Personal essay: Reflect on the insights gained during your mirror observation and how they connect to the concept of "the Other." How does this experience inform your understanding of identity and relationships?
toolbox
- Develop complex characters:
- Utilize symbolism and metaphor:
Photo:Fortepan / Korenchy László