Abstract
In the second edition of Play in Family Therapy, Eliana Gil continues to offer clinicians guidance in working with children, couples, and families. She begins by explaining some of the changes and additions that separate the current text from her first. For example, she encourages therapists to explore their creative personality as a method of becoming more comfortable with the varying levels of creativity clients are asked to share. Also important is her acknowledgment of the increasing presence of neuroscience, which can be seen through the order she presents the information and techniques.
In regard to interventions, the book is not one that lists interventions without providing the foundational support. Although not separated within the table of contents, the book is essentially two parts. The first three chapters lay the groundwork for understanding the process involved in both play therapy and family therapy. The second half gives therapists a clear description of successful integration.
The first chapter offers a very specific and concise overview of the purpose, development, and approaches of play therapy. Likewise, she does the same type outline for family therapy. While clearly delineating the rationale for integrating play and family therapy, the first chapter has both a historical voice and an advocacy undertone.
In the second chapter, Gil discusses critical elements that can deter a clinician from integrating the two therapies, but she also identifies opportunities clinicians need to seize in order for integrations to be successful. The chapter includes data from various studies to support each subtopic. Gil also shares her own experiences with the use of metaphors in her work with children and families.
As mentioned earlier, Gil stresses the importance of the therapist tapping into his or her own creativity, which is the basis of the third chapter. She dispels several myths about creativity. For the clinician, she explains the components of creativity and how to connect the components in a meaningful way.
Gil then uses the remaining portion of the book, Chapters 4–11, to demonstrate clinical application. Infused with creativity, each chapter includes a case scenario using familiar type mediums, such as puppets and genograms. Gil closes the text by sharing several examples of her experiences and thoughts, as a veteran in the field. She emphasizes the need for family therapists to include children in the sessions but also for therapists working with children to include families in the sessions, in order to promote the well-being of the entire system.
Throughout the book, Gil uses both pictorial and written examples of her work, making the book easy to follow. However, this book is not recommended for those just beginning in either play therapy or family therapy, as there should already be a working knowledge of key concepts, application of skills, and a strong awareness of case conceptualization. This book is beneficial for professionals who want to expand their work when traditional therapy may not be enough.