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Gerry Schaffner, LMFT 2004 Main Street Forest Grove , Oregon 97116
True change involves the whole person and the mobilizing of each persons strengths. I am systemically oriented, meaning I consider you in your relationship networks. My focus is time-effective, short-term therapy, solution-focused, with attention to gender, culture, and spirituality as requested by you. Although I earnestly resonate with the Christian community, my heart sincerely reaches out to all those invested in healing and will grace me the priviledge to share with them on their journey. My ideal client is one who intentionaly embraces the process of change, and in a collaborative spirit, seeks my support.
I specialize in couples/individuals whose difficulties are intertwined with experiences and issues that hamper healthy couple functioning and living life flexibly, i.e. drug and alcohol,infidelity, ADD/ADHD, PTSD, anger,abuse,anxiety, depression, domestic violence, physical disabilities and impairments, and difficulties resulting from learned family of origin patterns.
After 20 years I will no longer be meeting clients in Canby. Instead I am providing "in-office" therapy for individuals and couples at my new practice location in West Linn,15 minutes from Canby, east of Oregon Cty. Please see the above address for my West Linn office location.
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Years in Practice: School: Year Graduated: License No. and State: Avg Cost (per session): Sliding Scale: Accepts Insurance:
Accepted Payment Methods: American Express , Cash , Check , Discover , Health Savings Account , Mastercard , Paypal , Visa
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Gerry Schaffner, LMFT 2004 Main Street Forest Grove , Oregon 97116 (503) 850-0866


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Mount Pleasant Estate's Great American
Monday, August 21, 2017 - 11:00am to 5:00pm
Mount Pleasant Estates

Augusta is in the path of totality for the Great American Eclipse. Make plans to see this amazing event at Mount Pleasant Estates on August 21 from 11 a.m. to 5 p.m. Enjoy a complimentary winery tour at noon. Purchase eclipse glasses and be ready for the big show.Ticket to the Beatles will perform live from 12 to 3 p.m. on the upper patio. Reserved seating is available for $5 per person. Call 636-482-9463 to make reservations.

Edg-Clif Winery's Solar Eclipse Party
Monday, August 21, 2017 - 11:00am to 5:00pm
Edg-Clif Winery

Edg-Clif Winery's Solar Eclipse Party will feature live music, a BBQ lunch, solar glasses and special edition Eclipse wine with a commemorative lablel! Reserve your tickets today.

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Monday, August 21, 2017 - 11:00am to 3:00pm
7C's Winery

7C's Winery is hosting an Eclipse Watch Party on August 21 from 11 a.m. to 3 p.m. Click for more information.

Dale Hollow Winery's Eclipse Party
Monday, August 21, 2017 - 11:00am
Dale Hollow Winery

Join Dale Hollow Winery for their Eclipse Party on August 21. The first 300 guests will receive solar eclipse glasses. The winery will also hand out custom-made Eclipse label stickers. Call 573-569-0094 for more information.

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Charleville Vineyard Winery Microbrewery's Short
Monday, August 21, 2017 - 11:00am to 5:00pm
Charleville Vineyard Brewery

Join us Charleville Winery for the most anticipated Solar Eclipse in US history in the prime viewing location on the grounds of the winery brewery in beautiful Ste. Genevieve. Charleville Winery has also brewed a special Eclipse Beer: Short Black Sun a Dark Pilsner made with New Zealand Hops.

Cost: $43.47, ages 12+, $21.74, ages 5 to 12, Free for ages 4 and under

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. Your ticket includes an all-you-can-eat roasted pig luncheon with sides, first wine, beer or root beer, viewing glasses, live entertainment and seating, Family friendly event. Bring additional seating/blankets if you prefer.

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Am Samstag, den 12.


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“ ...

Interview of the Day

In his open, ­omnivorous writing on literature, ­visual art, and performance, Hilton Als has made critical analysis and introspection a conjoined practice. The essay, which he has called “a form without a form,” is his primary mode, and he invariably interweaves family and friendship, American fixations on and lived ­experiences of race and sexuality, metaphor and reality.

“My nights are a nightmare, quite often, but the nightmares are rich. I nourish myself by those nights.”

“There are all kinds of books I’d like to write that seem to be out of my grasp.”

Writing a story is like crossing a stream, now I’m on this rock, now I’m on this rock.”

“A book has got to smell. You have to hold it in your hand and pray to it.”

“The author is the successor of the saint, everyone respects the author.”

“There is no one truth, but there are an awful lot of objective facts. The more facts you get, the more facts you collect, the closer you come to whatever truth there is.”

“Like everyone, I know some big words, but I try my damndest not to use them.”

“In truth, I’m still slightly embarrassed to say, I am a poet. I’d rather say, I make poems.”

“Smart people say such dumb and disappointing things about translation.”

“I think pornography is a very rich medium, and I’ve studied it closely and learned quite a lot as a writer from it.”

“It knocked you off your horse, taking LSD. I remember going to work that Monday, after taking LSD on Saturday, and it just seemed like a cardboard reality.”

I find what happens in reality very interesting and I don’t find a great need to make up things .”

“I was a kid who liked art and theater and dance and music, but if you lived in Harlem, high culture was somewhere else, and it wasn’t black.”

“The process of book writing for me is entirely one of trial and error.”

“I’m a person with virtually no feelings.”

On ’s Patrick Bateman: “The more he acquires, the emptier he feels. On a certain level, I was that man, too.

"It’s because you’re always fighting sentiment. You’re fighting sentimentality all of the time because being a mother alerts you in such a primal way."

“Every novelist should possess a hermaphroditic imagination.”

“What I want to do is write something that seems like it means something and doesn’t. I want to write a novel that even I don’t understand.’

“What happened to poetry in the twentieth century was that it began to be written for the page.”

“As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me.”

“When I was younger, the main struggle was to be a ‘good writer.’ Now I more or less take my writing abilities for granted, although this doesn’t mean I always write well.”

“I wanted to make room for antiheroes.”

“That’s the hardest thing to do—to stay with a sentence until it has said what it should say, and then to know when that has been accomplished.”

“I meant my first novel to be an epic which would contain, in an artistic narrative, ‘everything I knew.’”

“On January 10, 1974, Transports et Transit Maritimes Associés came to the rue de Tournon and took away three large metal trunks and I closed the Paris office of for good.”

“A strict form such as mine cannot be achieved through improvisation.”

“I was rather a goody-goody as a child… It was only later on I discovered that you could be naughty and get away with it.”

Born in London in 1945, Richard Holmes has written ten biographies and books of biographical essays. Even in his early works (1974) and (1989), Holmes demonstrates a keen eye for place and a striking empathy for his subjects.

“I think that when one is dead one should be a little bit bolder, so that the rest of us may have some record of how things actually were.”

“It isn’t exactly true that I’m a provocateur. A real provocateur is someone who says things he doesn’t think, just to shock. I try to say what I think.”

“I often think of the space of a page as a stage, with words, letters, syllable characters moving across.”

I know that black life, like all life, outstrips our perceptions, that so much of black life still remains— to invoke Ellison here—invisible, unseen.

“Until I can read a story physically, with the eyes, it doesn’t seem to exist for me.”

“I tried to depict the human face of this history, I wanted to write a book that people would actually want to read.”

What’s a revolution? It’s when a regime can no longer control the populace, when the regime is brought down to the ground.”

László Krasznahorkai was born in 1954 in Gyula, a provincial town in Hungary, in the Soviet era. He published his first novel, , in 1985, then (1989), (1999), and (2016).

“In some ways [the Internet]’s definitely an enemy.”

“If a word that was used by Flaubert or Césaire falls into desuetude, if it becomes passé, we still keep it in the dictionary because it was used by an important writer.”

“The good effect of translating is this cross-pollination of languages.”

“One of the things [fiction] does is lead you to recognize what you did not know before.”

“Some cynical biographer said to me, Make sure it’s a good death. Make sure you’re not picking someone who just declined.”

“The book attained a mind of its own, a subjectivity or an autocatalytic machinelike quality.”

“I’ve got the fucking gift for it. Instinct, call it.”

“The 'I' character in journalism is almost pure invention.”

“I only became a novelist because I thought I had missed my chance to become a historian.”

“It was a great time to be young and restless in New York. I wasn’t getting much writing done, but I like to think I witnessed a great moment and I internalized it.”

“With nonfiction, you’ve got your material, and what you’re trying to do is tell it as a story in a way that doesn’t violate fact, but at the same time is structured and presented in a way that makes it interesting to read.”

“Is there such a thing as overreading? Just because it wasn’t part of my grand design doesn’t mean it isn’t there. Things do happen in books that the writer is too submersed in bringing the narrative to life to notice.”

“All my editors have been white.”

“Language is so different from life. How am I supposed to fit the one into the other? How can I bring them together?”

“People loved to talk about how Frank O’Hara didn’t really care about getting published. That doesn’t jibe with my experience.”

“I just want to see whether it’s possible to entertain Freud’s fantasy of a realistic biography. It may not be a possible thing to do.”

“There is an immense abyss between the very few who have money and the vast number who are poor.”

“Writers had better not be too cocksure that they’ve got inspiration on their side.”

“I think of America as my audience, and inside that space are white people as well as people of color.”

“I worked at a library and that’s where I first read James Baldwin. I think it was It stopped me cold.”

“I must love big novels, because that’s what I’ve written. It takes a while before you begin to breathe the air the characters breathe.”

“Those who have earned respect should be given respect, regardless of their human faults.”

Anyone else might have easily written off a life of Véra Nabokov as impossible. In the two major biographies of her husband—both written during her lifetime, when she controlled access to his papers—she is a cipher.

“I love going to plays. There’s a subconscious side to it, obviously–some people like to be spanked for XYZ psychological reasons, and I like to go to plays, and I can’t entirely explain why.”

“There weren’t too many books by women that were taught in school, so I read those on my own, and the books I read were as accessible as the ones we were reading in school.”

“Fiction tells you, by the making up of truth, what really is true. That’s all fiction writers can do.”

“Before you have the assumptions implicit in the first sentence, anything could happen. But once you have that sentence, you’ve narrowed your options down to a point where there really isn’t that much left to write.”

“I don’t know why, but I always feel a kind of necessity to write things that are beyond acceptance, that are too offensive or something. For people to read them and say, Ha-ha-ha, very funny. No, we can’t print that.”

“In general, the food world …it’s just so against our nature.”

“I think cartooning gets at, and re-creates on the page, some sixth sense ... in a way no other medium can.”

“TV writing is for people who hate being alone more than they hate writing.”

“I think the writer has to be responsible to signs and dreams. If you don’t do anything with it, you lose it.”


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