
The Liberated Voice
Claudia Friedlander, DMus, NASM-CPT
Voice teacher, clinician, writer and teaching artist A beautiful voice is a free voice. It integrates body and mind.
The practice of singing unleashes the flow of creativity, endows greater depth and nuance of feeling, and empowers expression. It’s my aim to revolutionize the way singers think about and develop classical vocal technique. Advances in the fields of biomechanics, sports science and psychology have yielded information and resources that are of tremendous benefit for my community. It’s time to allow
Operating as usual


Here is a true story about Dominic Cossa, that in retrospect does a fine job of illustrating why I valued his influence so deeply, not only as a singer but also as a budding pedagogue, not to mention a human being.
When Dominic embarked on his performance career and was struggling to land regional gigs like ya do, it came to his attention that a colleague of his was putting together a production of Faust for a major company. This hit his radar in June or July, not February 14, but he scrounged and found an outdated greeting card and wrote on the inside,
"I’d love to be your Valentin! Love, Dominic.
p.s. better hire me while you can still afford me!”
For all of you out there thinking, “Why didn’t I think of that!” well, I myself definitely have thoughts like that much more frequently than I would have, had I not had the opportunity to study with Dominic Cossa.
Dominic gave so many things to our community, but I want to talk about some of the invaluable things he gave to me.
For starters, not only was he a generous, kind, supportive, straight-talking mentor—he was legit the very first voice teacher I got to work with who was *not* a controlling, underqualified, abusive, bitter, self-aggrandizing jerk. And I began studying with him *after* completing my doctorate, so you can do the math. Let us all be deeply grateful for the kind and generous people in this industry, and seek to emulate them.
Dominic was also my first teacher who had a long, stellar operatic career, who was capable of sharing the insights he had gained singing on the world's great stages, alongside many of the world's greatest artists, in the spirit of encouraging his students to go out and do likewise. I complain a lot about how conservatories like to hire operatic luminaries for their recruiting power, without finding out whether or not they are competent teachers and nice people. Is it important to have access to outstanding artists with tons of real-world experience? Absolutely, provided they are committed to helping you enjoy similar success, and have the chops to help you achieve it.
That was Dominic, 100%.
Talking with other students of his is helping me to see how deeply Dominic influenced my evolving pedagogical approach. I always felt seen, safe, and supported in his studio. But I also knew he would never blow smoke up my ass, and tell me I was qualified or ready for something I wasn't. He always admitted the limits of his understanding. He always had a specific musical and/or artistic application in mind for every exercise he taught. And you could tell, when he demonstrated how to do something, that he still took such great joy in his own ability to emit beautiful, expressive sounds.
I talk a lot about the influence that W. Stephen Smith has had on my teaching, but before Steve, there was Dominic. Dominic did so much to help me unravel the weird s**t my incompetent previous teachers had encouraged, instilled me with hope and solid fundamental principles, and set me on the path I am still on.
Bravo, e e un miliardo di grazie, signore!

Classical singers who are Sh**un fans: Tadanobu Asano, aka Yabushige, has some outstanding advice for you.
He explains that when preparing to film the role, "I knew it would be subtitled, no matter want language I spoke, but I also knew it’d be an American production as well. I had to come up with some sort of physicality to the performance — how I stood, how I moved, the expression on my face — that translated whether or not there were subtitles. I wanted people to see what I was doing and be convinced, or to find him interesting, from just that alone. I wanted them to ‘get it,’ regardless of what language they spoke. That was the challenge.”
I loved the whole series, but he steals every scene he is in! It's a master class in how to communicate with an audience that does not speak the language you are performing in.
Meet the MVP of 'Shōgun' -- Ex-Punk Rocker and Japanese Movie Star Tadanobu Asano Thanks to his performance in the popular FX limited series, the longtime actor and cult-movie favorite has just gained an entire legion of new fans.
On Wednesday, August 28, I banged the gong (and rang the bell!) on Mount Sinai West’s infusion floor, to mark the completion of my chemotherapy. There was a large gathering of the staff to celebrate—David recorded video of the celebration, and I’ve appended it to this post if you’d like to see it.
When I checked in with my oncologist before beginning my last round of chemo, he pronounced me “cured.” I’ll still need to be vigilant, take good care of myself, and continue to follow up with my doctors for the foreseeable future. But the likelihood of a recurrence is as low as could be hoped for, so far as we can tell right now.
What this means is that tomorrow, Monday, September 9, will be the first day of the rest of my life. The first day that I actually get to start feeling better, and then continue to feel better.
Throughout my treatment, whenever I started feeling a little better, I’d immediately get knocked down again by the next round of chemo. Now I get to look forward to that not happening.
You would think that this would delight me, and it does, but in addition to the delight there is so much confusion and apprehension, and I don’t even really know how to talk about it. Much of the pain from my surgeries and the chemo has already diminished, but the brain fog has gotten progressively worse over time. I’ll get my brain back, and hopefully on the soon side, but meanwhile I feel like my whole experience is somewhere off to the distant side of the rest of the world.
Sci/fi and fantasy references can be helpful. Maybe the Star Trek fans among you will understand when I say I feel like Kathryn Janeway, captain of the Voyager, my ship having been unexpectedly flung to the far reaches of the Delta quadrant, with no expedient way home. There are valuable lessons to be learned here, and adventures to be had… but all I want is to go home.
And the Neil Gaiman fans. We’re revisiting the Sandman tv series on Netflix, and I feel even deeper empathy for Morphius, Dream of the Endless, stripped of agency and power, imprisoned in glass for a century, bereft of his Tools when he finally breaks free.
It will take some time. To make my way home. To find my agency, and gather my tools.
I love you all so much for hanging in there with me.
BREATH
by Mark Strand
When you see them
tell them I am still here,
that I stand on one leg while the other one dreams,
that this is the only way,
that the lies I tell them are different
from the lies I tell myself,
that by being both here and beyond
I am becoming a horizon,
that as the sun rises and sets I know my place,
that breath is what saves me,
that even the forced syllables of decline are breath,
that if the body is a coffin it is also a closet of breath,
that breath is a mirror clouded by words,
that breath is all that survives the cry for help
as it enters the stranger's ear
and stays long after the world is gone,
that breath is the beginning again, that from it
all resistance falls away, as meaning falls
away from life, or darkness falls from light,
that breath is what I give them when I send my love.

Let's continue to amplify the signal of this story, friends. It needs to be loud enough to drown out the brass section, apparently.
Music—symphonic, operatic, contemporary, all music—is, at its best, a powerful unifying force.
Music performance of any kind requires people playing, communicating, and respectfully working together. The more passionate the music, the more performers need to be deeply in tune with one another, the more we need a culture that helps us to feel safe being vulnerable and taking emotional risks.
There is no room in such a culture for violent sexual predation or misogyny of any kind.
And yet.
Once again we have failed the women Classical music's power problem.
In which I promote an album I contributed to more than 30 years ago! and weigh in on Beyoncé's use of a classical aria in her album "Cowboy Carter."
I can't teach or perform while I'm still receiving chemotherapy for colon cancer. When I have enough energy, I'm learning guitar, rehabilitating my singing voice, and learning video editing.
If you would like to contribute to my medical expenses and ongoing recovery, please donate through the GoFundMe campaign that has been created on my behalf (link in the comments)

Surprised? I still am!
I decided to take up the guitar because I need more music in my life while I’m recovering.
My voice is beginning to respond a lot better—I’m able to breathe more fully, access more of my range, and practice some simple exercises and songs. But I find that I also want to be learning and exploring *new* things. That is where a lot of my satisfaction as a musician comes from: expanding my expressive vocabulary, exploring more nuanced phrasing, developing a more efficient and comfortable way to do stuff. Figuring stuff out, so I can express myself more clearly and creatively.
I have never attempted to play guitar, so this is a pristine musical frontier for me. In my 20s I did try to learn viola and electric bass, but I lacked adequate patience—I was already an accomplished clarinetist, and I became frustrated when I couldn’t swiftly develop a similar degree of prowess.
In retrospect, I think the same lack of patience plagued my early attempts to cultivate a solid singing technique. I wanted to sing at the same level of skill that had taken more than a decade to develop on the clarinet, so I did a lot of uncomfortable pushing and pulling on my voice to get it to make the sounds I wanted it to, before realizing that there are no shortcuts. Not where freely flowing, expressive music-making is concerned.
So in addition to bringing more music into my life and giving me new stuff to figure out, I am hoping that this guitar will help me develop greater patience. Patience with the learning process, with the healing process, and with the process of finding my voice again, literally and figuratively.
I’ll start posting videos when I get to the point where I can actually play a chord or two! If you would like to contribute to my medical expenses and support my ongoing recovery, please do so through the GoFundMe campaign that has been created on my behalf (link in the comments).

Hacking, Cheating, and Cheesing, a blog post.
Please see the comments for the link, and give it a read!

Hacking, Cheating, and Cheesing (it's a better read on my blog, https://www.liberatedvoice.studio/blog/hacking )
My body has been hacked.
My surgeons altered the structure and content of my physiology, swiftly and with extraordinary specificity. My wellbeing, form and function have consequently been improved in some ways, and compromised in others.
“Hacking” is the application of technical knowledge and skill to do an end run around what would otherwise be impossible. Hacking yields an expedient result, but it sometimes comes at a price. For example, the hacks that were applied to my body facilitated the swift elimination of my cancerous tissues, while also decimating my energy and mobility.
There is no hack that can swiftly boost my physical vitality. Only time and healing can restore that. Meanwhile, I have been enjoying a kind of virtual athleticism by playing video games, and contemplating how assorted hacks can boost achievement in both the virtual and analogue realms.
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When you play a video game for the first time, you play it to play it. You meet an escalating sequence of challenges, and ultimately you square off with the final big boss. When you beat that final boss, you get a victory cut-scene. Then the credits roll, and the game is over.
But for speedrunners, an elite class of players, the real game is just beginning.
A speedrun is a play-through of all or part of a game, in which the object is to trigger the final boss fight and roll the credits in as little time as possible. I’ll be talking about both tool-assisted and glitch speedruns, and the hacks players use to perfect them.
Here’s a tool-assisted speedrun of Mario 64 https://youtu.be/fXT7Wyt94Ek . Familiarity with the game is not required in order to recognize the extreme hacking at play here. You normally have to acquire a minimum of 70 stars in order to access the game’s final boss, but this speedrunner dispatches Bowser No. 3 without having picked up any stars at all. Thus, a game that can last 20 hours or more is over in under 10 minutes.
This feat is impossible for anyone playing the game in real time, and that’s essentially the point: rather than playing the game, the goal is to meticulously create an ideal run of the game—making perfect choices, frame by frame, 30 times for each second of gameplay.
That’s Hack #1: extreme micromanagement of your avatar’s every movement and choice with utter precision.
Hack #2 involves creating the speedrun on a computer while utilizing a keyboard rather than a controller for input. On a controller, there are some combinations of buttons that cannot be pressed simultaneously (i.e. how these games are designed to be played). A keyboard allows for depressing multiple keys simultaneously to exploit glitches in the game that can significantly speed your progress.
Hack #3 involves triggering glitches in the game that you manage with either a keyboard or a controller.
You could call it cheating, this deployment of hacks in order to beat the game in a fraction of the time it would take to play it through. But is it cheating, considering that creating a tool-assisted speedrun demands not only tremendous expertise but also many hours—or even days!—to curate a single minute of perfect gameplay?
It only seems like cheating if you believe that the speedrunner and the role-player are playing the same game. They aren’t. For the tool-assisted speedrunner, winning means beating the world record, not the final boss.
Here is the current world record glitch speedrun for Mario 64 (the player has to beat the final boss after having acquired all 120 stars) https://youtu.be/7ONLHlhgnjA . A glitch speedrun is a realtime play-through of the game, in which the player makes copious use of Hack #3 (glitches that can be exploited utlizing a controller). They cannot employ Hacks 1 and 2. However, they do have recourse to an additional “hack” that isn’t really a hack, in my opinion.
I’m talking about Cheesing.
"Cheesing is video-game slang for beating tasks or enemies through tactics that while not exactly cheating, are certainly not following Queensbury rules. When you cheese a game, you’re exploiting systemic quirks or apparent design oversights to gain maximum advantage for minimum skill or effort."
That’s how Keith Stuart defined cheesing in this fun piece he wrote for The Guardian https://www.theguardian.com/games/2022/mar/31/is-it-wrong-to-cheese-a-video-game . He describes his delight upon discovering that in Elden Ring you can occasionally defeat an enemy by tricking them, e.g. into leaping over a cliff to their death. So not only is cheesing often expedient, it is often also hilarious and cathartic!
Cheesing isn’t hacking. Cheesing, in this sense, is the clever exploitation of mechanics that were intentionally built into the game.
At any rate, as someone who loves Mario 64, watching this guy’s speedrun is for me as astonishing as listening to soprano Diana Damrau sail through the virtuosic Mad Scene in Lucia di Lamermoor https://youtu.be/RyTojTbUbAo . It’s the game equivalent of flawless coloratura, featuring the impeccable, effortless ex*****on of thousands of precise movements, while also chatting with his Twitch fans about his cats.
A tool-assisted speedrun requires a deep understanding of the game’s mechanics. A glitch speedrun requires real-time skill and consistency in playing the game. While there is a lot of overlap between the skill sets required, the rules and goals differ. Which kind of speedrun a player decides to specialize in depends on what they enjoy most: cracking the game’s code, or developing mad skills.
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That covers virtual movements. Now for analogue movements, with analogous hacks that you can apply in meat space https://www.merriam-webster.com/wordplay/what-is-meatspace .
Our enjoyment of our bodies depends on the quality of both their physical form and biomechanical function.
The state of my body’s form has to do not only with my outward appearance, but also—much more significantly—with my internal structure (which, up until recently, included cancerous tissue). The state of my body’s function is determined by how well everything is working. That includes everything from my singing technique to my ability to digest food efficiently (which, up until recently, was dangerously compromised).
There are hacks to improve your physical form, and hacks to improve your physical function. What “improvement” might mean for either is entirely up to you—I encourage you to pursue whatever physical form and functionality you will find most gratifying! but for the purpose of this discussion, I’ll be talking about bodybuilding and strength competitions, and the hacks competitors use to improve their standing.
Derek Lunsford is Mr. Olympia 2023 https://www.dereklunsford.com . Competitive bodybuilders are evaluated on muscular definition, symmetry, and poise. Therefore, while poise does demand functional grace, their training necessarily prioritizes form over function. While their functional movement skills may also benefit from this training, winning at this sport depends on how their bodies look, not how efficiently they move.
Steroids can expedite and augment increased muscle size, definition, balance, and symmetry, but as the Mr. Olympia competition is subject to IFBB rules, let’s assume that Mr. Lunsford did not avail himself of this hack, ’mkay https://ifbb.com/the-prohibited-list/ . However, bodybuilders do regularly engage in some other powerful hacks that violate no rules. In fact, these strategies I’m talking about have by now become so commonplace among non bodybuilders, it probably wouldn’t occur to you to think of them as hacks. But I do, at least in this context.
Hack #1: Intentional Hypertrophy.
Resistance training makes muscles grow bigger and stronger. It’s possible to design a bespoke resistance training regimen that focuses on making your muscles bigger, stronger, more functional, or all three. Bodybuilders pursue a regimen that makes their muscles bigger. Many non bodybuilders who work out also pursue enhanced visual muscle definition. That’s why you may actually equate intentional hypertrophy with resistance training, rather than viewing it as a hack. But I was born in the era predating the proliferation of Big Box Gyms, and their entire marketing plan was, and is, primarily based on the promise that they will help you hack your body in order to improve your aesthetics. Your Equinox trainer applies tools and techniques that were developed for bodybuilders, in order to help you look more like an athlete without actually training for a sport you would play in real time. Intentional hypertrophy is a hack.
Hack #2: Manipulating Body Composition.
The higher your percentage of lean muscle mass, the more clearly defined your musculature will be. It’s possible to design a nutrition regimen with a view to increasing your percentage of lean muscle mass, while decreasing your percentage of body fat. I suspect that you are more likely to recognize this as a hack, given the proliferation of organizations and products that encourage you to “hack your metabolism“ https://mashable.com/article/lumen-metabolism-measurement-device-review . Early humans made nutrition decisions based on real-time metabolic needs and availability of food. As civilizations took shape and more and better food options became available, nutrition decisions were increasingly influenced by the enjoyment of food. But it is comparatively very recent that we’ve been creating nutrition regimens with the express goal of adjusting body composition. Just because this practice has become extremely common doesn’t mean that it isn’t a hack.
Competitive bodybuilding is all about hacking the human form, in order to push the limits of what is possible and achieve maximum visual muscular expression. No one ends up looking like that without being extraordinarily intentional and disciplined about it, every single day, for a period of years!
Ingenious, sustained hacking is pretty much their entire strategy. Just as it is with tool-assisted speedruns.
Mitchell Hooper is the 2023 winner of The World’s Strongest Man competition https://www.mitchellhooperstrongman.com . Competitors are evaluated based on their ability to push, pull, lift, and throw assorted extremely heavy things. Therefore, their training necessarily prioritizes function over form. While the movements they regularly engage in and the nutrition they consume will also likely lead to an increase in both muscular hypertrophy and lean muscle mass, they don’t pursue these things as ends in themselves.
As I see it, strongmen do not deliberately engage in either hypertrophy or metabolic hacks. However, their training does include something I would argue is the equivalent of a subcategory of video game cheesing. You can sometimes best an enemy by luring them into a position where you can attack them, but they can’t attack you. For example, you can get them stuck behind a door frame that is too small for their absurdly massive body, then repeatedly shoot them, slowly depleting their health bar while they impotently rage away. Keith Stuart “beat Elden Ring’s awesomely powerful Tree Sentinel by hiding in the alcove of a church and repeatedly poking him with a spear,” (and so did I!).
This category of cheesing involves creating conditions that lower the stakes, while allowing you to slow down your movements and repeat them as many times as necessary to accomplish your goal. If you’re training to become the World’s Strongest Man, lowering the stakes means reducing the load you’re trying to move, practicing your movements slowly in order to increase efficiency and range of motion, and repeating the movements until they become well-habituated. Once you’ve got the movements nailed down, you can add load and speed them up.
Hmm… lowering the stakes, slowing down the movements, repeating and habituating them… gamers might call that cheesing, but I say that’s efficient motor learning! Which helps with the acquisition of any movement skill, whether you’re seeing how high you can toss a keg, or figuring out how to manage your breath while sustaining a long sung phrase.
Cheesing isn’t hacking. Cheesing, in this sense, just means developing efficient fitness and practice strategies. Strategies that work brilliantly for WSM competitors, glitch speedrunners, and musicians of all types.
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While hacking my body was a vital initial strategy in my cancer treatment, there is no hack that will enable me to do an end run around the recovery process. There will be some cheesing involved, as chemotherapy is the cellular equivalent of tricking an enemy into leaping off a cliff! But mostly this is going to be a process of lowering the stakes, reducing the load, slowing everything down, and habituating the movements that work best for my body now.
Most people who enjoy video games aren’t interested in hacking or speedrunning; they’re interested in role playing. Most people who enjoy fitness don’t engage in bodybuilding or strongperson competitions; they exercise to feel and move better.
Most of us are just living our lives, playing the hands we’re dealt, and celebrating wins when they come to us. Those wins can be all the more satisfying when they are unexpected, especially if we feel like we’re getting away with something. As Keith Stuart put it, “The victories that you celebrate with a wry smile are often more lasting and meaningful than the ones accompanied by a fist pump and a yell.”
I wish you many wry smiles as you rise to meet life’s challenges!
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I am really grateful to all who took the time to read this long and wonky post! And I continue to feel so grateful for the support and encouragement I have been receiving since my cancer diagnosis. If you would like to contribute to my medical expenses and support my ongoing recovery, please do so through the GoFundMe campaign that has been created on my behalf https://gofund.me/45bfebf9 .

When you see me, feel free to praise how strong and alert I seem (assuming that I do!). But please don’t compliment me on how svelte I have become.
I’ve lost at least 30 pounds due to this illness. I weigh less now than in nearly 30 years. The loss was rapid and destabilizing. Much of it happened while bedridden in the hospital, so when I was finally able to walk, it actually felt like I was moving someone else’s body around. I begin chemotherapy next week, which may mean ongoing vigilance to keep my weight up.
The weight loss is not the most significant alteration that my body (aka my physical instrument) has experienced so far as a consequence of cancer and treatment. I’ve also undergone three abdominal surgeries that impact the way my breathing anatomy responds—once the area is all healed up it, will nevertheless be in very different condition.
I’ll address breath function more in future posts, but today I’d like to talk about the weight loss. While the relationship between significant weight loss and singing is something that I have talked and written about with some frequency over the years, now I get to experience the impact it firsthand.
I still can’t breathe to capacity or vocalize very much, so it remains to be seen how my evolving dimensions will impact the way my voice responds. But I can make a couple of observations up front:
- This version of my body does not and cannot function the way the previous incarnation functioned. I need to find out how the current version produces efficient vocal sound, and build on that. If instead I fixate on making the same sounds I was able to make before this happened, not only would I fail, but I would also tie myself up in knots trying.
- I’m having a complicated reaction to getting smaller.
It has been my observation that, when a singer experiences dramatic changes to their body composition and/or structure, they generally don’t anticipate it having a dramatic impact on the way their voice functions. When it does, as often happens, their response may very well be to try to keep making the same sounds they had been making before, while hoping that nobody notes any differences.
Given the persistent ableism of the professional music world, singers are justifiably concerned about being stigmatized for health issues. They may feel that their continued success depends on hiding or downplaying an affliction or surgery, then jumping right back in the saddle with all possible haste. While their well-being and artistry may depend on taking some time to heal and adjust, a sense of urgency and secrecy can incline them to instead cover for any physical weaknesses or changes in whatever way seems most expedient—i.e., by developing compensations that ultimately turn out to be fatiguing and unsustainable.
Given the persistent and baseless anti-fat bias of our culture, singers often feel tremendous pressure to evoke dramatic changes in their body composition and/or structure. This leads them to pursue strategies to modify their appearances without giving much (or any) thought to the way that the changes they evoke in their physical instruments will cause those instruments to function differently.
I practice fitness training because I am very interested in helping singers condition their physical instruments to function as well as possible. Voice lessons necessarily focus almost entirely on helping singers coordinate their vocal anatomy, but it's so much easier to coordinate anatomy that has been well-conditioned. For example, alleviating chronic tightness and improving flexibility in a singer’s abdomen facilitates taking a deeper, lower breath—much more effectively than just telling them to take a deeper, lower breath.
When I first began writing and lecturing about this more than twenty years ago, singer fitness was a tough sell. My generation of singers and teachers will remember that fitness carried perhaps even greater a stigma than fatness—gifted singers were thought to have been born with extremely special instruments, whose structures must not be tampered with in any way.
While singer fitness now gets a much better rap, I’m afraid the emphasis remains more on thinness and glamour than on conditioning the body to breathe, phonate, and stabilize as well as possible. A fitness regimen that focuses on thinness and glamour may yield some benefits for vocal function, but it may also yield some negative impact for vocal function. The goals cherished by most of the people you’ll find working out at the gym have to do with appearance rather than function, so when there are functional gains, they’re kind of like happy side effects.
Allow me to be very clear: I would never say that one’s aesthetics don’t matter! A performer’s look is, after all, an inextricable component of their artistry. What it comes down to for me is, are you cultivating an appearance that reflects who you are, how you like to express yourself, and how you like to move? Or are you trying to meet a perceived cultural standard, in order to raise the odds that some lookist industry as***le will find you appealing? I personally believe you can’t do both, because anything we do, physically or vocally, in the pursuit of external validation, compromises our artistry, including our own enjoyment of it.
Which brings me to the complicated reaction I am having to getting smaller.
I don’t know how my body wants to be now. I was previously so accustomed to being able to train and manipulate my body in order to achieve whatever I want to accomplish and express, physically and vocally. Meanwhile, my body also became host to a cancerous tumor that developed silently over as much as decade* before I became alerted to its presence. I can’t know how it might have been affecting my physical structure and function along the way.
Now I need to find out how my body wants to be, post-surgeries, adapting to the ways that treatment and recovery will cause it to evolve. I need to allow experience to continue changing my relationship with my body. I believe it already has, and for the better.
I had thought that I was no longer judging my body for how it looks and what it can do. Now that it looks and functions very differently, I can see that I am not entirely free of the toxic cultural conditioning that we all get blasted with. For example, is smaller good or bad? The culture says skinny is good; my doctors say rapid extreme weight loss is bad. But what does my body itself have to say on the topic?
What I need to do, is listen to the signals I am getting from my body as it heals and adapts: eat when I’m hungry, move more as I feel able to, etc. Yet some of the temptation remains, to second-guess things like how much to eat, and to push myself to move more, go farther and faster, so I can turn my body into what I imagine it is “supposed” to be like, ideally swiftly.
It’s possible to have a complicated reaction to something, and still make healthy, well-informed decisions while processing that reaction. Where my weight, shape, and wellness are concerned, the fewer the compliments on how svelte I have become, the easier that will be for me to manage 🙏
*If you are an adult between the ages of 45 and 75, please get screened for colorectal cancer. I myself did not. Had I gone in for a colonoscopy as recommended, it is quite possible that I would have caught this sooner.
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Thank you for reading, and please keep in touch! If you would like to contribute to my medical expenses and support my ongoing recovery, please do so through the GoFundMe campaign that has been created on my behalf (link in the comments).
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